Archive for October, 2009


October 18, 2009
William Forsythe's "Decreation" at BAM

William Forsythe's "Decreation" at BAM

Like the Ouroboros, I have now come full circle.

No other visible artist on the planet, it seems, has insight into Kundalini like William Forsythe.

I can still recall the excitement I felt in my body, the Kundalini surging, when I first saw the Frankfurt Ballet in Los Angeles in 1992.   There was a ticker tape machine on stage and the dancers were reading out messages and they were all about time.

He detected it: the crucial importance of art evoking its time.  Time as the last remaining 20th century challenge for physics. Science failing to explain how — when we have so many time saving devices — we are losing time.

This past week, I spent far more time than usual in the unconscious.  On Thursday, for example, I felt myself levitating from the bed and finally got up  to discover the morning had disappeared.  I went for breakfast at 2 PM, when the Lakeside Diner was getting ready to close and sat there until they mopped under my feet, completely focused on organizing images for my oral presentation scheduled for the AICA 2009 Congress in Dublin.  My awareness of Time factored right into it!

It sounds like an old cliche, I know, to say how crucial a moment of time is because it will never happen again, but given the perspective of astrology we can scientifically calculate just HOW unique it is!

My goal as a critic is to evoke in my writing the patterns existing at the very time of its execution. To be successful at such a co-creation with the universe, I need to focus on artists who create works evoking their times.

Can my ambition explain why great human beings such as Fuller were out of context with their times?  If Time dominates human thought, than how could Margaret’s critics appreciate her being an instrument of her time?  In living in the same time as her, they couldn’t detach themselves from their times in order to see, in high relief, how she evoked her time, the post-romantic era.

This is the gift that Mary of Persephone gave me when she advised me to view my own chart from the perspective of the Galactic Center, which now represents the Great Unknown.  Ever since then, I am happy to stand in the “I don’t know” and realize this is the place of great power!  Entering the place o unknowing means a surrender to the unfolding, letting the evolutionary energies work through the body, the ultimate indicator of time.

And what about the body of work.  The timing of delivery, the timing of performances, the timing even of beginning and ending my writig.  It is all about capturing the unique moment in the most appropriate expression reflecting that moment.  This is the essence of true creativity that I am understanding by reading about Margaret Fuller.  A life in co-creation with the universe.  She was 200 years ahead of her time and her time rejected her because they couldn’t understand her achievement — mastering time so to filter her times!

Below are my notes on DECREATION which attempt to explain why this performance was so evocative of our time, defined as it is by the Saturn-Uranus opposition.  The performance begins in real time and ends in mythical time.  What separates the two is Sound.

Video illuminates symbols as signs of transformation: the hand, black face and the Sphinx created through a face resting between two feet propped on the table.

Bringing the Kundalni into the body, the rejection of kundalini by the body.

The medium of dance is explicity about the body.

Dance is therefor the Kundalini’s natural medium.

A black dancer with her holistic moves represented the natural flow of the Kundalini.  Others in the company revealed the fear associated with the serpent power.  The fear of losing control.

The very word Decreation has a religious association.  If God created the world in seven days, then how long does it take to decreate the world?

To decreate the patriarchal hold on the body and create the vacancy so the Goddess can enter.  Yet, there is considerable resistance from the Ego and the result is schizophrenia, the body fighting with itself.

It was the message of the Sphinx that drove me to Brooklyn to see William Forsythe’s Decreaton.

I have never seen such a penetrating view into human emotion, the warring opposites behind schizophrenia surfacing as the heated, desperate negotiations in a relationship, with frequent lapses into lawyering, that we carry on in the name of love.

The sheer futility in speaking about LOVE when the heart is closed and the body rejects and/or distorts the serpent power that attempts to break through the blockages that maintain stagnancy.

The heart has its own intelligence.  This central organ regulates the blood flow, maintains our ALIVENESS.

How is it that we let our mind fuck it all up??

William Forsythe acutely understands duality and the need to reconcile the warring opposites.  All the talk of love, he shows us on stage, is representative of a culture that resorts to words as a cover for the utter lack of unifying feeling.

Words as blades thrust at such an emotional pitch that the spontaneously transform into opera.

Yet, through a communal sound there is unity.  Sound creates the sacred geometry of the circle, a geometry of holism, which dominates the close of the performance.

That is the transformation.

Sound and Silence.

Decreation ends on a hopeful beautiful note, the passage into unity, the round table and the two female dancers, one wearing black and the other white, embracing.  it is reminiscent of the yin and yang.  With the rest of hte company sitting at the 12 chairs.  Twelve being a number of sacred geometry: twelve were the tribes of Israel; twelve gates to the holy city; twelve houses of the zodiac.

Sacred Geometry of the Hieros Gamos on stage.

Where Forsythe goes, others will follow.

This circle completed with William Forsythe is all about Time.  The Ouroboros devouring itself.  My work of self-devouring completed JUST IN TIME.

When science accepts astrology, which is the oldest science of all, we will have resolved the problem with Time.  And from there, scientific experiments with astrology will reveal a truth known by shamans: the gods we project onto space are actually within.

This leap in human evolution will be undeniable with 2012.  Who can deny the convergence of time and space when we have the collective experience of the Winter Solstice Sun aligning with the Galactic Center?

The question that lingered all this week after seeing Decreation is this: how much do things have to deconstruct in order for us to embrace the truth of our interconnectedness with the Earth and its place in the divine rhythm of the cosmos?  Wouldn’t it be best to have all the warring parts of ourselves take their places around the round table representing the unity we can discover by understanding our inner rhythms influenced by the galactic bodies?  Isn’t it time to prove Newton wrong and reveal scientifically that the planets are not just dead objects in space, and alive as our own bodies, charged by the cosmic rhythms!



October 11, 2009
from "Shadow Play" by Debra Drexler

from "Shadow Play" by Debra Drexler

From my catalogue essay on Debra Drexler’s Shadow Play:

“The painter layers spontaneous imagery from the collective unconsciousness and solidifies forms in accordance with universal symbolism – tree, bird and shadow.  In doing so, she reveals how, in a time of uncertainty, the only authentic path is for the artist is to embrace Uncertainty, and ride the Quantum Wave as it collapses to uncover the emerging archetype of the Self.  “If humanity is going to survive and achieve its potential, an evolution in consciousness needs to take place.”

The riddle of the Sphinx arises again with the synchronicity of discussing Debra Dreler’s luminous “As above, so below” manifestation of the spirit of the Yod in full Aquarian splendor.

This unfolding is a response to  Jason’s invitation to the answer the riddle of his Black Sphinx which he placed on  pedestal over a closed door with a large keyhole.

Jason Tallon and his "Black Sphinx"

Jason Tallon and his "Black Sphinx"

I was too busy processing the synchronicity that led me to his studio to find his Sphinx when I was resurrecting the Great Sphinx in my fiction, in a manuscript entitled The Sacred Chamber which explored the notion of ancient scrolls containing the root of our human origins located under the paws of the Great Sphinx.

Yesterday, the Sphinx came up again.

Card #33 The Secret Dakini Oracle

Card #33 The Secret Dakini Oracle

I opened the book of The Secret Dikini Oracle (the tarot deck I use for divination) to card 33, Eternal Life, which contains an image of the Egyptian god Amen before the primordial waters turned golden by the sun.  He is holding an Ankh as if a mirror to the sun and below is the Great Sphinx.

The text reads:  “The Sphinx is the symbol of the alchemical agent or catalyst, whose inner nature holds the key to the promise of transformation, producing the substance that can turn all matter to gold, all spirits to the Enlightened.  The raw matter is the person, the distilled elixir is the Immortal Spirit of Eternity.”

The divinatory meaning of this card: “a solution to a problem, the triumph of light over darkness, clarity over obscurity, just as the sun rises each morning and after the night is completed.”

Hurrah!.  The answer to the riddle is right there for anyone who can open up to the awe of a majestic work of art.   Creating something that outlives one’s lifetime, that exists in eternal splendor for the ages to enjoy, investigate and reinterpret in accordance with their cosmic influences.  All along, Jason was the key to the riddle when he repeated to me his childhood desire: “I want to be immortal!”

So here, Mercury’s six-week journey comes to a conclusion. It moves out of its Shadow under the Virgo Moon on Wednesday. I will be meeting with Diane Bowen and bringing my two-year journey of inquiry over the state of the feminine in art and the popular culture to a close.


The night before, I concluded my public dialogue with Debra Drexler (at left, siting in the audience before the d gallery discussion) who transits between Hawaii and New York delivering a view of the Sky Goddess landing in the material of art.

Being fully engaged in the present moment is the underlying message here.  Living in full awareness of the present moment because every moment has a unique quality that will never occur again.  How we astrologers know this!

Egyptian Goddess

Egyptian Goddess

We concluded our dialogue with a visit to a party where I met an Egyptian woman who stands (left) as a living reminder that the Goddess (Uranus in Pisces)  has landed in the body (Saturn).  If I am frustrated in my current feeling that the art world has fallen behind in excluding the Goddess, then this was a crucial sign that she has entered the multicultural scene of New York City!

How does she make her Grand Entranc?.  The clue, for those who are present, is in Debra’s painting below.

from "Shadow Play" by Debra Drexler

from "Shadow Play" by Debra Drexler

So, the key unlocking the door guarded by the Black Sphinx (the symbol that guided this time of the Nigredo ruling the underground EMERGENCE)  is being full present to the unfolding of the Cosmos.  As much as I attempt to consciously put this into daily practice, I need to be reminded.

Stopping Time Meditation October 2 at 8:40 PM

Stopping Time Meditation October 2 at 8:40 PM

On Friday night, October 2, I attended an 8 PM meditation led by Mary of Persephone and the clock stopped at 8:40.  Mary of Persephone always guides us into meditation by songs and the song she played for us was all about time and being present and the arrogance of ego that, in retrospect, believes it would have known what to do at precipitous moments in history and God informing the ego that it wouldn’t have known anything.

It was a difficult message to absorb, made more difficult by the clock stopping, something that Mary of Persephone noted and included into the process.  As we discussed the synchronicity afterwards, the clock started again.

Time vs. Eternity.  This crucial teaching took place between the Moon conjunct Uranus and the Moon conjunct Saturn.  Uranus drives one to create for eternity and Saturn is the pressure of time. The meditation seemed to go so slowly because the rising sign was Taurus and the group/ creative experience of time and consciousness was reinforced by the Saturn in Fifth House opposing  the Moon/Uranus in the Eleventh House of groups and the collective consciousness.

One of the feelings that came up for me during the  seemingly endless meditation was: “Do I really have time for this?” And after the group experience came to an end, the answer was surely: YES!


October 9, 2009
Moon Surface

Moon Surface


All week I have been suffering from an unknown ailment which has kept me mostly in bed; I passed it off to exhaustion.

And this morning, I hear that NASA has attacked the Moon!

LUNAR ATTACK!  October 9, 2009

LUNAR ATTACK! October 9, 2009

Talk about a futile, arrogant, senseless struggle for universal dominance by the already dead Patriarchy!

The crash, and its effects on me personally (I live my life to be in sinc with the Moon), reveals a dangerous path of patriarchal domination over Mother Nature — through technology.  On Earth, the attempt is to remove the human body from Nature through the inhalation, ingestion and absorption of chemicals, and in space, it is to remove the galactic order.  This is surely the dark shadow of the Age of Aquarius — humans believing they are god, and can therefore disturb the architecture of the cosmos!

I’ll be sharing my thoughts on this tonight at the HP SALON that I am presenting with artists Debra Drexler and Barbara Rachko.

I find in my e-mail a message from my friend Rolf Mauer, the Green Candidate for Mayor of Stamford:

“I read about this somewhere awhile ago, but I didn’t think it was going to happen. Talk about symbolic desperation!”  Rolf is convinced that the $79 million mission to crash into a crater  to explore water on the dark side of the Moon is a cover-up for a real purpose: amassing material for cold fusion.


Has a hyperactive five-year-old taken over as the director of NASA? It sure seems like it. On Friday morning, an unmanned spacecraft launched in June will crash into the moon’s surface. On purpose.

Anyone not named Michael Bay is likely to ask why. Here’s the answer: NASA wants to know if the twin impacts of the Lunar Crater Observation and its Sensing Satellite (LCROSS) will reveal any ice or water under the moon’s surface.

Finding out shouldn’t be an issue. When the twin crafts hit the lunar surface at around 6,000 mph, NASA expects “plumes of moon dust — perhaps full of ice — (to soar) 6.2 miles high above the moon’s Cabeus crater.”

Anticipation among the earthbound is running high. Lookups on “nasa moon bombing” are scorching the search box. Related queries on “” and “NASA moon mission” are also rocketing skywards. More than a few folks are wondering how much the soon-to-be-destroyed LCROSS costs. Answer: $79 million, according to Christian Science Monitor.

Clearly, this is one of those cases where a picture is worth a thousand words. We’re gonna go one better and show you a video from NASA. The animated clip shows what NASA expects to happen. The entire sequence looks a bit like one of Dr. Evil’s satellites crashing into the Death Star. In other words, it’s awesome. See it for yourself below.

In the words of Dr. Anthony Colaprete, a planetary scientist at NASA Ames and principal investigator for the LCROSS mission.: “The one thing we’ve learned about the moon is how much we really don’t know about the moon.”

Right!  We certainly do need to understand about the Moon, regulator of tides on Earth!  Without the Moon there would be no life!  Just like there would be no life without the feminine!

Here Barbara Rachko reveals the archetypes arising from the Dark Energy of the Universe.  My shadow is visible and the crescent moon of Oracle as I took this photo in the HP Garcia Gallery.


Below Drexler reveals the Shadow as chrysalis of the emerging Self.

"Shadow Vines" by Debra Drexler

"Shadow Vines" by Debra Drexler

Debra is attends a healing school and does regular mediation and yoga.  She is a rare awakened woman who lives between Hawaii and New York City.  In her current series, on view at HP Garcia Gallery, she is revealing the process of awakening and the role of the Shadow at the crossroads.  Her symbolism of the branch represents the World Tree and also the Yod, below, which took place on the last day of September: an exact Moon conjunct Neptune, in a stellium with Jupiter/Chiron, revealing the structure (Saturn in Virgo) and mythology (Mars in Cancer) of the New Archetypes for the Age of Aquarius.  But clearly, there is also a warning here about the Shadow: the patriarchal struggle for control of the feminine power…

September 30 at 7:34 AM EDT

September 30 at 7:34 AM EDT

I captured the image in the sun between a tree on my property.



October 2, 2009

"Black is Film Circle" by Aldo Tambellini

"Black is Film Circle" by Aldo Tambellini

Considering that the Moon/Pluto conjunction dominated the Above Ground Performance in its trine to Venus, which ruled the Taurus Ascendent, it is time to reassess Pluto in the context of its demotion by astronomers.

Pluto’s Demotion Tapped as 2006 Word of the Year
By The Associated Press

posted: 8 January 2007
2:00 p.m. ET

Pluto is finally getting some respect – from wordsmiths.

“Plutoed” was chosen 2006 Word of the Year by the American Dialect Society at its annual meeting on Friday.

To “pluto” is “to demote or devalue someone or something” much like what happened to the former planet last year when the General Assembly of the International Astronomical Union decided Pluto did not meet its definition of a planet.

“Our members believe the great emotional reaction of the public to the demotion of Pluto shows the importance of Pluto as a name,” said society president Cleveland Evans. “We may no longer believe in the Roman god Pluto, but we still have a sense ofpersonal connection with the former planet.”

“Plutoed” won in a runoff against “climate canary,” defined as “an organism or species whose poor health or declining numbers hint at a larger environmental catastrophe on the horizon.”

In our performance, ‘Plutoed’ was about the collective (the Moon) taking the power away from the celebrity obsessed consumer society, and placing power in the hands of the individual creators.

There was a man with a rainbow in the passage to  projection room where the “Above Ground” performance took place.  He was wearing a homemade pendant consisting of a chunk of turquoise.  “Are you a magician?” I asked him.  “I am,” he said.

For me, this beautiful man was the signal of the transformation taking place inside the room, which was representative of what has been taking place in the artistic Underground.  The Plutonian magician is no longer the dark force who overpowers the innocence of Persephone.  He is an equal partner to the alchemical experiment.

Here is what Julie Loar wrote about Pluto in Capricorn in a recent issue of Atlantis Rising.

Alas for Pluto, he’s no longer a planet but a plutoid. Plutoids are bright and spherical objects which orbit the Sun beyond Neptune. They are not considered planets because they don’t have enough mass to clear the area around them. Actually, a planet has been defined for the first time. Pluto orbits in the Kuiper Belt, a ring of icy debris on the outer edge of the solar system. Pluto, and other small planet-like bodies, are now named for either mythical gods of the underworld, or creation deities, depending where their orbit is relative to the Sun.

Beyond the Kuiper Belt, in a section of our solar system called the Scattered Disk, the newly discovered Plutoid Eris orbits. She is larger, and much further away from the Sun, than Pluto. It was Eris, aptly named for the Greek goddess of discord, who caused Pluto’s demotion, and this has resulted in a whole new category of small planets.

The mythology of Pluto is Hades, brother of Zeus (Sky) and Poseiden (Sea), who lorded over the Underworld.   The avant-garde that I write about is concerned with this archetype of the Underground, ruling Warhol and his films, and the happenings of Aldo Tambellini.  Pluto is the god of precious metals mined deep from within the Earth.  The name has entered our current language as wealth or “plutocracy” intend of keeping the riches of the planet to themselves.  Pluto gives rise to many a conspiracy theory!

The marriage of Pluto was through treachery and deceit.  He kidnapped her while she was intoxicated by the Narcissus.  By way of Persephone, Pluto is therefore connected with the annual cycle of fertility rites, which is how the more ancient Sacred Marriage Rites survived the shift of cosmology to the patriarchy.   Loar writes:

If we understand the Hades/Pluto myth, we see that death is part of a cycle, and the expected outcome is a cyclical resurrection. Ancient cultures understood this, but in the West, we often forget the promise of spring and rebirth that is implied in the annual death.

Could this mean that if we regained knowledge of the Great Round of death and rebirth, we wouldn’t have to enter into resurrection unconsciously through abusive relationships, rape and power struggles?  Pluto is the archetype responsible for the global abuse of women.  For women to take back their power, which is necessary to create a new culture based on gender equality, it would mean nothing less than owning up to this power within, an awakening to the mysteries!

It would seem then that the demotion of Pluto is an essential step to make this force, neither patriarchal or matriarchal, but an equal partner in the Great Round, the cyclic resurrection that refers not only to the season but the birth of the Age of Aquarius.

This process will not be easy.  It will take the Saturn square Pluto transit to break down what is left of the old archetypes, and bring forth new structures of collaboration among gender.

Saturn enters Libra on October 29, when I will be in Dublin with my Oral Presentation:  The Heisenberg Principle in 21st Century Art.”  I see the challenge, to address the forces of the plutocracy that have infiltrated the art world and stripped contemporary art of its soul, and present this condition against the emergence of a new archetypal model for human relationship, “The Sacred Marriage.”

The last time Saturn and Pluto were in difficult aspect was the opposition during September 11.  I will be tracking signs in the culture this fall, which is the upheaval leading to the Jupiter/Uranus conjunction in Pisces, next year, which brings ends the mutual reception of Neptune in Aquarius and Uranus in Pisces to a resounding close.   I long ago predicted that this interchange between the rulers of my Sun (Aquarius) and Moon (Pisces) would bring in a new art movement.  And given this consciousness, it isn’t surprising that I have a role in bringing it to the attention of the global community of art critics.  Here is a comment from Richard Tarnas in Cosmos and Psyche (p. 338)”

It sometimes happens that the two very different planetary cycles we have here been comparing, Saturn-Pluto and Jupiter-Uranus, unfold in such as way that they precisely overlap in a particular moment in history.  We can then observe the telling ways in which the coinciding phenomena reflect the two distinct archetypal patterns working together.

These two formations will be taking place next year: the breakdown/restructuring of Saturn-Pluto will be accompanied by the Uranus/Jupiter in the sign of Pisces, ruling the mythologies we live by, the very archetypes we model ourselves after.  While Jupiter/Neptune delivers the Aquarian mythology of the present Yod, next year will be about the awakening of this mythology to the collective humanity (Uranus).

What role does Pluto have in this process?  Here is what Julie Loar says about the demotion of Pluto:

Even though Pluto is no longer officially a planet, his astrological influence has not diminished. Ask any astrologer. It’s arrogant to assume that size, or appearance, are the only valid measures of significance. Pluto may be small relative to the other planets, but he is mighty, releasing tremendous power. In a way, I believe Pluto’s change of status has freed him to operate more potently in his own mythical realm–the Underworld. Like a stealth provocateur, he moves unseen, touching the depths of what’s hidden from view, but needs to be seen, and triggering volcanic eruptions which are felt on the surface.

This is the reason why we need powerful works of art now, more than ever.  But it also explains why they remain Unseen from public view.  The Greek mythology has been dismissed by contemporary minds and we await the mythology unfolding from the concretization of Pluto in Capricorn square Saturn in Libra to replace it.

Next year, Uranus in Aries enters the picture to create a T-Square among the three planets known as the “malefics” in traditional astrology.  We only need look back to the Great Depression, the last time there was such a line-up, to obtain an understanding of what to expect but Tarnas has numerous examples of paradigmic art that changed the course of human history which carries these imprints.

My goal here is to attempt the impossible, to assess history as it is being made through the lens of my understanding of the unseen force of the Kudalini as its winds its way into the collective consciousness.  In astrology, this energy enters through the higher mind (Uranus) at the crown chakra, or the body instinct (Pluto) at the root chakra.  Neptune in Aquarius brings this energy into the circulatory system to electrify the body into and through the archetype of Self.

Things come out of hiding at this period, like the Plutonic works of Aldo Tambellini that were created in the early sixties and believed to be lost for decades.

"Three Photos Black TV" by Aldo Tambellini

"Three Photos Black TV" by Aldo Tambellini

See how this discovery informs my understanding of the Pluto square Saturn as it enters into form over the next few weeks.