Tuesday, January 31, 2017

Nick Bottom, Midsummers Night Dream

Let me play the lion too: I will roar that I will
do any man's heart good to hear me: I will roar,
That I will make the duke say 'Let him roar again,
Let him roar again.'

Nick Bottom, Midsummer Night's Dream, William Shakespeare

I am not a huge fan of Shakespeare as I consider him to be a poor dramatist compared to contemporary writers.  Bardolatry dominates theatre in the UK and across the world often excluding incredible playwrights and their stories from the stage.  Although I am very familiar with his work and have a great deal committed to memory I have only directed the Tempest and the Winter's Tale and the only character I have played in a Shakespeare production is Nick Bottom.*

Who is Nick Bottom?  When I first encountered this character in Midsummer Night's Dream I thought he was a bit of an arrogant goon, Shakespeare mocking a ham actor, and played him like this. In hindsight and with age, I can see that he is a charming fellow who is loved by his friends and driven by his goofy passion for theatre.  His desire to play all the roles in the play of the mechanicals is driven not only by ego but that he knows he will give his all to any part he plays, he is driven by love.  This could even have been Shakespeare projecting himself into the play.

If you are unfamiliar with the Prague Shakespeare legend created by Vincent Bridges, the Bard was said to have spent time in Prague as a spy (during his so-called lost years) and stayed at Edward Kelley's Donkey in the Cradle House.   Some of the supposed evidence for this can be found in several Prague legends, stories and folklore that ended up in Shakespeare's works particularly Midsummer Night's Dream - for instance Oberon is related to a sorcerer from central European legendary history called Alberich, or the fact that a group of guilds-men were in competitions producing plays for Rudolf II at the same time that Shakespeare was said to be in town, or the story of the head of a baby that Edward Kelley turned into a donkey.

Chet, you're surprised - her name is Lille, she's my mother's sister's girl. Good luck Chet! Sam you stick with Chet, he's got his own M.O., modus operandi.

Gordon Cole, Fire Walk With Me, David Lynch

Not by choice, but through virtue of collaboration with other departments in my college, I am studying this text in class at the moment and it made me reflect on only ever being Nick Bottom (as far as Shakespeare performances) and how that connected to my time in the Donkey in the Cradle house.  I have never made the connection before (!) and its quite curious to me, another little element tying me to this place.  Last night I watched Fire Walk with Me and the dream language of Lynch helped me to unpick the dream language of the Bards' Dream. As I reflect on this at the moment I note that Nick Bottom is a weaver, with the esoteric links to the Cathars that this suggests.  It was the weaver that was translated, whose head was turned into an ass and who was subjected to the delights of the company of fairies rather than the bellows mender or any of the other mechanicals.  It was the weaver, driven by love, who was willing to play any part.

I need to give this more thought and there are things that relate to the 231 Gates project at the Tower that I still cannot reveal, the details of certain Enochian rituals during Midsummer and their effects, although I will in due course.  As I promised to myself I attempted my weekly astral work last night - ascended to the astral plane to find some kind of faerie kingdom.  The space weather was decent (although in two days we should have a nice boost of cosmic energy from the Sun), I ate very little meat and also a lot of strawberries and blueberries.  Still on some painkillers.  Managed to see a kind of white fuzz of tangled threads that resolved themselves into some kind of thicket.  I was looking at a glade from the grass level and managed to focus in on some grass and bluebells.  A snarling goat appeared in the thicket and banished me.  When  I tried again, I kept getting memories as opposed to escaping my own gravity well.

I don't consider this to be a particularly successful attempt.  Some of the failure I put down to destination again.  I no longer think** that there are various locations on the astral plane like a kingdom of fire elementals etc, in the same way that I used to although when I was plotting my course it was this redundant thinking that guided me.  Next time I attempt to project to the fae I will plot my course into the past or astral past.  Saying that though, I definitely ended up somewhere and was possibly remote viewing an actual glade where some faerie activity went down way back when and there is very little there now.  This connects to something in Fire Walk with Me***, when Cooper goes looking for another agent and asks what was in a particular place in the trailer park and the trailer park owner goes what do you think was there a trailer! -  my point is that there are probably epic legendary places where there are car parks and dumpsters now so there must be a destination in time as well as space if you really want to get something.

I am curious about the fae in general but I don't know it this is enough.  I am curious about my own history with the fae, and how or if it relates to my prior experiences of life as a weaver**** but this is the exploring of a deep personal memory as opposed to astral work, or at least I expect it to be.  I am curious as to how the Cathars relate the Kabbalists as there has to be some kind of connection there (via the south of France, Sefer Ha Bahir, etc), even if it is virtually impossible to explore from a research perspective.  I will give this more thought, the synchronicities are strong enough for there to be some kind of looping of the thread here so I need to ask myself what I really want to get out of the experience.  What is my destination?  Or like an actor, what is my motivation?

I have had a most rare vision I have had a dream, past the wit of man to say what dream it was: man is but an ass if he go about to expound this dream.

Nick Bottom, Midsummer Night's Dream, William Shakespeare

*I have played Dr Faustus a couple of time though by Shakespeare's contemporary Kit Marlowe.

**Due to the influence of Raziel.

***Possibly something similar in Mulholland Drive where the hag is hiding in the alley behind the restaurant.

****I have strong connections to the Cathars (past life memories, etc), one of the few plays I have written (I am primarily an actor and director) relates to the legend of the escaping Cathar monks and the text they carried with them.

Wednesday, January 25, 2017

The Metabolism of Time - Physiomancy

A few years back I made a post based on a competition from Patrick Dunn's Post Modern Magic blog entitled physiomancy which involves predicting your future based on the faces of people you encounter.  I had an extremely interesting encounter over the last few weeks which relates to this topic and I wanted to address it here.  I was working as an actor for a film that is being made in Prague at the moment and one of my old friends and mentors from Edinburgh contacted me out of the blue.  What was strange was that there were strong physio-gnomic commonalities between him and the director of the movie - they were both clearly Treefrogs i.e. the character that is referred primarily to the thyroid gland.  I knew how to relate well to this character employed that knowledge in my transactions and received an extra day in the film, an extra scene, another line and was upgraded to a named character.

Let me explain a little about how physiomancy works and how it can improve your understanding of the mechanism behind the Metabolism of Time.  As we have discussed at great length in the Hermetic Lessons you as an individual are at the centre of your own cell of consciousness - you have your awareness of your physical body, your awareness of your physical reach, your perceptual bubble and finally the membrane which encloses this in your mind.  People who enter your cell, while having their own cell of consciousness themselves act as a chemical messenger inside your cell, the message's underlying code being revealed by the physiognomy of the person.  From this knowledge of the message you can predict with a great deal of certainty the kind of scripts, physical acts and other transactions that person will engage in.  Similarly you are also acting as a chemical message on any other cell that you interact with and your chemical message is also written in your face and body.

I'll furnish you with a simple example.  Lets say I am living with a Prisoner - a character derived from insulin and the pancreas who can be expected to have a rich imagination (sometimes appearing as boundless creativity, sometimes as a tendency to day dream), typically introverted, have a strong inner monologue, the propensity for abdominal fat storage, a certain ''piggish'' quality to the face (this sometimes can be a cat-pig) and a very sweet-tooth.  Knowing this I can expect this person to be frequently lost in their own thoughts, probably write in a diary or other medium and either fill the house with sugar or vocally wrestle with the desire for sugar.  Simply put as they act on me as a chemical message, I might become more like them by sheer dint of the fact that there is more sugar around and therefore I am more likely to gain weight.  I will also be exposed to the richness of their imagination and, depending on my own tastes, being inspired or tired by it. Conversely they will be influenced by the chemical messages that I am emitting.

The reality is more nuanced - in order to understand physiognomy more precisely I have to be able to use the paths and place people on various spectrums between physiognomic archetypes (partzufim) associated with the Sefiroth.  I can immediatly differentiate between types of prisoners just from thinking about the path between the Treefrog and the Prisoner (Daath and Tifereth) as opposed to the Prisoner and the Many Mannered Mind Man (Tifereth and Yesod).  The former character is likely to have more ''resting nervous energy'' and be more inclined to travel and the visual arts, and the latter is likely to be prone to frequent bursts of energy, wildness, anarchy (stimulated by glucagon and testosterone) and be more into musical arts.  We can expect dead centre prisoners to be interested purely in writing (which on a cellular level correlates to the Prisoner as nuclear membrane).  As you can imagine these nuances will produce different types of chemical message - different scripts, different habits, different psychodramas - so I want to be clear this is not about simplifying people this is about ways of understanding their complexity.

The foundation of the system explored in the Hermetic Lessons is Chokmah ha Partzuf (the Wisdom of the Face) and is certainly related to whatever Isaac Luria was practising in Safed where he was known to read people's karma from looking at their face and body.  Physiomancy is one application of this knowledge but there are many more for example combined with a form of logotherapy it can be the foundation for a system of healing.  These ideas are fundamentally tied to my ideas of initiation where I expect physical representatives of these archetypes (partzufim) to be closely associated with me as I approach and unlock the Sefiroth they are tied too - that in their scripts and psychodramas are various secret clues to understanding if I see with eyes that see and hear with ears that hear.

Wednesday, January 18, 2017

The Tree of Life - Summoning the Letter M

Three Mothers Alef, Mem and Shin
are Air, Water and Fire
The nature of the heavens is fire
The nature of air is wind
The nature of water is earth
Fire ascends and water descends
And wind balances between the two.
Mem is silent, Shin is sibilant
And Alef balances between the two.

Sefer Yetzirah 3:3, Saadia Version

During the Sefer Yetzirah study myself and my fellow students worked with a letter per month over the course of 22 months.  We followed this for a further 22 months studying their Kingships.  The original impetus behind the work was the request from Raziel to ''study the letters of our names''.  I felt that the letters in the name of each angel formed some kind of code and by understanding the letters I would understand more of the totality of the angel.  The details of such work varied between the students - some more research based, others meditative and others more practical.  Various Kabbalistic/Yetziratic methods were used - Tzeruf for example - alongside others with a more hermetic bent who continued to explore them through associated forms like Tarot.  Letters were pursued in vision and along the paths.  During the work each letter seemed to resonate like a glass or ceramic vessel until it cracked open and released a spirit - more often than not physical phenomena associated with the letter accompanied this spirit. In sharing a small account of an example of this work I hope that other practitioners will find new ways of working and different ways of looking at their Arts.

I had been working on summoning Mem (the letter M) for a few days - letting my mind obsess over it and its accompanying symbols/kingships of waves and water (MYM), thinking of words that began with the letter M, humming (M hums, Sh hisses), writing out the letter over and over, and whenever I broke from these concentrations guiding myself back on to the path.  My mind thus excited I pursued the letter on the astral - carving into the membrane of my vision and letting the light spill through the gate.  The letter would fluctuate, change shape, elude me, multiply, flash and then it was held.  A letter engaved on the clay of the mind carved out, quarried, and finally sculpted from the stuff of the astral. People speak to a variety of lunar deities, some speak to the Moon, but very few seek to speak to the letter M herself.

After several days of this, one afternoon I returned from work to find that a giant M had been constructed in scaffolding over the back of the building I was renting, the landlord was doing some work on the windows in my upper floor flat.  I entered the room and looked out through my window, through the M, and was amazed by a beautiful sunset that cast a golden light on a pyramid shaped building in the city, an approaching rainstorm and a gigantic double rainbow.  The letter cracked open like a chocolate egg in my mind and a delicious caramel of mystical ecstasy flowed through my blood.  I left the flat walking through the M on my house towards the M in the sky over the city.  My heart was racing, and my mind, stunned but beginning to interpret the phenomena as I went towards it.  As my mind operated on the experience of the event, I could feel it working like an enzyme, breaking down the experience through analysis, turning it into words, robbing me of direct experience and as this happened the rain clouds drew ever closer.  I turned a bend in the road and a swan, out of nowhere, fell from the sky and crashed into the pavement.  I stopped.  This swan was a symbol for my heart, brought down from the mystical, magickal experience through too much interpretation and analysis in those first few minutes.  It turns out that when the emergency services arrived to rescue the bird that it had crashed because it was dehydrated.

It is difficult to maintain what Kaplan refers to as Chokmah consciousness or non verbal consciousness.  One of the leading causes of failure in astral work is that you will analyse the experience you are having (turn it into words) causing it to break up or corrupting it with your preconceptions and judgements.  Judgement is the root of the shattering. In learning how to explore visions and experiences like this, Kaplan suggests that your consciousness is a penduluum you learn to swing longer into Chokmah ever extending your time in this state but when your heart runs returning to the place.  Mystical and magickal pursuit of the letters themselves enriches your mind and your experience of reality.  Rather than simply spending your time with spirits and other characters from the Book of Time you are reaching into the principles of the enchanted language itself - a chemistry of spirits, not a sociology.  You learn to see past the exterior of the being and into the code itself. Like the genetic physiognomy discussed throughout the Hermetic Lessons, Kabbalistic work with the letters lets you reach into the physiognomy of spirit itself.  And like the last fifteen years of experiences, I am ever thankful to Raziel for showing me the way.

He bound the twenty two letters to his tongue,
And revealed to him their foundation.
He drew them in water,
He flamed them in fire,
He gave them sound with breath,
He ignited them with the seven planets
And directed them with twelve constellations.

Sefer Yetzirah 6:4, Gra Version

Tuesday, January 17, 2017

Astral Projection - Failures and Analyses

Since my recent experience with the angelic alien insects I have made several attempts to go on the astral plane that have resulted in failure.  I want to describe and analyse my failed attempts now and what I can learn from the mistakes.

On my first attempt after the experience, I managed to get on the astral although the plane was not as inviting (the weather was not as good I suppose you could say) and I didn't really have a clear intention when I went on.  As I cleared the ''psychic gravity well'' of Earth I decided to attempt to astrally project to Venus because it had been very clear in the sky.  I stated my destination and began to move through the astral.  I felt like I had entered some kind of flesh-coloured pulsing tesselating tunnel which seemed very Venutian.  I travelled down the tunnel and then ''saw the light'' at the end. The tunnel opened out on to what was some kind of viciously hostile atmosphere, I could see clouds of gas lit by lightning and I worried that if I left the tunnel I might be consumed.  After getting the fear like this my experience broke up.

During the second attempt I made a big mistake.  I was lying on my back staring forwards and used a ''climbing the ladder'' model of pulling instead of the more recent innovation of the ''rowing'' model of pulling.  What this effectively had me do is ''climb'' at 90 degrees to my intended direction (up) as I was imagining my hands actually climbing and I was lying down.  I was so into my climbing that I was concentrating on the ladder model more than where I was in the astral.  When I stopped ''climbing'' and decided to look around me it was clear that I was still very much on Earth as nothing was happening - I had moved in completely the wrong direction.  I reverted to the rowing model and also just focused on my head as the ''boat'' and the oars being where my ears are.  I moved forward (up) rapidly in this manner, but again I was more focused on practising technique than on destination. I stopped and looked around me and the astral environment was rich with potential but I realised I didn't have any goal so I just let myself float back down.

I just want to discuss some matter arising from this:

  • Does the activity of certain planets and the Sun make for a more difficult/easy launch? I will make sure to make notes on astral weather using my planetary calculator (paying attention to the Moon) and also check spaceweather.com before working to see if there is any correlation between the richness of the astral environment and solar activity (geomagnetic storms, CMEs, flares, spots, etc)  
  • What's in my blood/brain?  For the last few weeks I have been taking painkillers for my teeth and the excessive use of ibuprofen definitely dulls the light.  Note what is in my blood.
  • State your destination?  There are two types of people when it comes to remembering long forgotten things.  People who go ''it'll come to me'' then forget that they are trying to remember and then the information comes to them in a few moments vs people who actively try to remember and sit there straining at it for five minutes.  I think this is the difference between using your mind/brain and being your mind/brain.  Since I am one of the former I have been increasingly training my mind/brain to do tasks that I do not have to concentrate on, stuff that it can just run in the background so to speak.  I have been applying this to the astral for some time, not worrying too much about which angle I am facing to make it to my destination but asking my brain to do the necessary maths on trajectory for me.   This generally works really well.
  • Have a destination?  I am intending to be systematic about my astral work this year and get to know local space as intimately as possible.  In the recent case of the insects I have a feeling that I moved so fast that I not only projected in space but also in time.  I got the sense that I was really far out there, remote from Earth and the present - what Mage the RPG used to call the Deep Umbra.  Although I think I will find things on the planets that will kick me off, I am going to dedicate an evening each week to attempt to project to one of them. 
  • Is the rowing model better than ladder model?  In Egyptian Mythology and elsewhere we have this notion of rowing through the Underworld bearing in mind that the Underworld can actually be referring to space and in Jewish mysticism the idea of Jacob's Ladder is frequently used when describing scaling the heights of heaven.  I have generally had more success with the rowing model although I have not described or directly experienced it in this way before the feeling of rowing seems to resonate more than the feeling of climbing.  It seems easy to imagine rowing with your ears (I know how weird this sounds, but in muscles of the mask Raziel made some good points on how to use facial muscles and so on to ''inflect'' the astral and I have made great headway with this technique) and less likely to make a mistake by attempting to use your body, deviate in your perception to an objectified view of the self and thereby negate the astral view.

Wednesday, January 11, 2017

Fourteen Minotaurs - Response and Clarification

Andrew, in his discussion of the Fourteen Minotaurs makes some really useful points and I want to address some of them here as well as clear up some possible errors in understanding regarding my methodology and my own interpretation of the results. 

To be clear the work that I am doing with Raziel is actually with the entity known as the Archangel Raziel as opposed to the Book of Raziel.  This work is undertaken through contact on the astral plane (using Kabbalah) and takes the form of telepathic messages (regarding the nature of time travel) that appear in the form of a ''compressed'' sentence or a ''lesson'' on astral work.  I started work with Raziel back in 2002 when after systematically working my way through summoning the Archangels of the Sefirot I received the message ''Abandon the tarot work with the letters''. I followed this command and studied the SY intensely for around seven years but didn't receive another communication for ten years by which point I lived in Prague, Czech Republic and was working on Jupiter Magic with Miller, Salem, Opus, Ashen Chassan, Magdalene, Bradford et al.  The messages and lessons became more frequent when I moved to Edward Kelley's Tower in 2013 and began the 231 Gates project, died off again for about a year after I fled in terror, and at the moment they are happening around once or twice a month.

According to Raziel then, the reason the possible timelines of your life end up reducing to 14 (from the various infinities offered us by the many worlds interpretation) is that the vast majority of alternate personal timelines are dead (unrealisable) because they do not take place in timelines which end in the ''invention of time travel'' and therefore never ''cohere'' in the first place.  The 14 surviving possibilities of you (our minotaurs) are derived from the aggregation of various yes-no decisions that end up culminating in the same set of significant events. That these 14 are planetary seems to be bound up with the notion of them being derived from the essence of story itself.  Magick, allows you to move between these variations at ''robust branching moments'' but each one has a future which is preexisting, therefore you are selecting a universe as opposed to creating new ones, or ''influencing probability'' in this one.  Only fourteen minotaurs run through the labyrinth of your soul.

Raziel is being very clear that everything in this plane is absolutely determined including the planets. They are not determining us anymore than we are them - we are in sync, everything is in everything - and it is more useful to think of them as a clock as opposed to the causative agent or source of influence.  Most magicians see this idea of destiny as life threatening to the notion of magic itself which is the declaration of supreme free will.  There is an assumption that free will is true, even if nearly all the evidence goes against it, because the ego rebels so strongly against the idea that it has no agency. Not many magicians have really had that conversation with themselves to the extent that they could be having it - for instance temporal entanglement has to come up in the critical analysis of any ''retrocausal'' magickal effects i.e. when you did the magic but the effect had to already be happening before the cause for it to mesh with your life in the way it did - so how does that work?  After thinking about this for a long time now, admittedly under the influence of Raziel, I have come to the conclusion that destiny is a necessity in the construction of the universe that the prison of destiny safeguards the freedom of the astral (deep future) from the pinchpoint which is ''the invention of time travel'' and also that this is worth the sacrifice.  The experience of time in the astral is often much much slower than the real world, if time passes at all but one needs the prison of time in order to step outside of it. As I learn more about my 4d self and how it operates I understand the freedom that will exist after I am dead.

I think what Andrew is talking about (and the ideas for different activities he has) is an entirely valid exploration of these ideas within the model of free will and possibly destiny although I don't think he quite gets the implications of the ''fixed in stone approach'' as he makes frequent references to luck, choices etc and seems to come more from the probability model. I am not saying this to disparage him I am struggling with these implications myself. I have thought a lot about and played around with planetary hyper rituals (rituals for all planets on sacred day and hour, every day) and I am certainly reflecting on the kingships during the day that they reside under but if it has already been determined that I will do that, I am not responsible for those thoughts or actions in quite the same way as before.

When we think of the kingships and their transpositions, e.g. Powerful vs Enslaved, we need to look at them from the personal local perspective as opposed to the global perspective.  I think a lot of magicians these days are way way too caught up in politics and I can't help but think its time taken away from other pursuits, other lines of enquiry.  As you know power and slavery I place under Venus and maybe its better to look at this as to what extent you are hooked on drugs, booze or controlled by a dominant lover and in what sense you use narcotics as opposed to abuse them or are the dominant lover in a relationship - this should certainly vibe with my Thelemic friends - as opposed to whether you are a techno-serf in the global empire.

The connection of Mars to the Kingship of Seed is because Mars was originally an agricultural deity who was converted into a war god because the original Roman soldiers were farmer-soldiers and these farmer-soldiers were organised according to family, clan etc on the Field of Mars.  So seed is central to the Martian ideal although I am not disputing ''energized'' with its link to Martian athleticism or other alternatives.  On this note the Kingship of Peace and War is attributed to Mercury (through the ruling factor of communication both interpersonal and intrapersonal) although this is the one we often think should be with Mars.

This said I think there is a ''self improvement'' danger in occultism where all positive kingships are sought after and the transpositions avoided. We know that being a billionaire or a beautiful star is not necessarily going to make you happy and its strange for people to automatically think it would.  Even being Healthy is not the key to happiness - some of the most anxious and/or boring people I know are health nuts - I would hesitate to describe them as happy. Wisdom is no guarantee - intellectual superiority, the conceit of knowledge are all challenges to true happiness. The Kingships and their transpositions are all about story - you can be happy and poor, you can be happy and sick, likewise you can miserable and healthy.  So I would question Andrew's ''changing life for the better'' - having jumped track a couple of times (through magick) I can't say for sure that the rich track is ''better'' than the ''poor'' track or that dominant is ''better'' than enslaved - honestly - I think all fourteen minotaurs have their stories.  ''Better'' seems to me an aesthetic choice and some people love the grotesque, the tragic and even the evil.  The other thing that is worth bearing in mind is that Raziel seemed to imply that one kingship will always be the dominant one in determining the quality of the archetypal version of yourself you are experiencing and therefore that it is impossible to have all seven switched on to their ''better'' versions. In my understanding and experience Eudaimonia is not about simultaneously experiencing all seven aspects of the good life.

Tuesday, January 3, 2017

The 231 Gates and Time Travel

Their End is imbedded in their beginning
and their beginning in their end
Like a flame in a burning coal
For the Master is Singular,
He has no Second,
And before One, what do you count? 

1:7 Sefer Yetzirah, Gra Version

I started the work on time travel during my stay at Edward Kelley's Tower in the Donkey and Cradle House in Prague and many of the posts on the Hermetic Lessons made during that time were taken down which is why 2014 seems like a particularly weak year for the blog.  Those posts relate to the 231 Gates project which I was undertaking with the use of the so-called Time Phone, which is itself an interpretation and application of the Sefer Yetzirah passages that relate to those self-same gates and to the golem, galgal and Gilgul.  During those experiments various phenomena involving time (time freezing; rejuventation or time rewinding; communications from entities in the ''future'') were experienced on top of the background haunting of the tower itself.   These experiences and the experiments themselves were mind bendingly complicated and riddled with paradoxes.  Subsequent work, both theoretical and practical, followed with the assistance of Raziel in the years that lead to ''Now''.

Twenty-two Foundation Letters:
He placed them in a cirlce
like a wall with 231 Gates.
The Circle oscillates back and forth.
A sign for this is:
There is nothing in good higher than Delight,
There is nothing in evil lower than Plague.

2:4, Sefer Yetzirah, Gra Version

The roots of time travel work are not hard to see in the Sefer Yetzirah.  Ch 2 in the Gra Version is all about the way in which language (the 231 gates being formed from the connections of all 22 letters arranged around a circle and then paired off) is the very substance of time (in the form of astrology), how Deity spoke the Creation.  I have spoken before about the association between this process and what is happening in the nuclei of your cells, the way in which that information is transcribed into proteins, or ''words'' and how this is tied to light entrained circadian rhythms. Of course if you read this section in the imperative, which is entirely possible, then it becomes an instruction manual for how to do this yourself, the He becomes I - you place the letters in the circle.

The language in The Arrival is rendered in a very similar way to the 231 Gates  - we see linguists drawing lines between and linking up different sections of the Heptapods circles of ink to comprehend the meaning, the symbolic nature of various roots are discovered until we finally understand that this language will change our perception of time to non-linear.  The film deviates from the scifi about half way through to examine the emotional impact such a way of viewing time (the future as prexisting)  would have on a person - would they then truly value the moments that they do have more, savouring each one, etc?  Yes, but for those who do, that attitude will already have been predetermined surely.  To me the more interesting scifi was in the creatures themselves - Lovecraftian yes but Yetziratic too.  What are they?  Are they like 4-5d hands and fingers writing on reality, are we stories and characters of theirs or do we evolve into them?  Why do they need us?  The retrocausal questions were very similar to Interstellar and it seemed that both films were in essence about the same thing.

Back to the 231 Gates Project and where 2017 will lead.  The larger goals of the Great Work to Know Thyself and to find the Philosopher's Stone are unaffected in order to answer both of those questions we have to wrestle with Cronus.  What have we learned so far?  Well ''If time travel is possible then it will happen therefore it already has'' so questions emerge a) where are all the time travellers? b) what is to stop someone going back in time to change time in such a way that time travel is not possible?  The alternative to this is that time travel is not possible so the whole exercise is, has been and will be futile.

According to Raziel the time travel paradox of going back in time and altering time in order to stop the invention of time travel is not possible because the period of time leading up to the invention of time travel is protected - like a museum and therefore everything is predetermined - and also that it is the invention of time travel that kind of ''ties the universe together'' and so that protection or tying up of time is a necessary factor of existence itself.  There are parallell unvierses but a lot less than we expect, this is because most potential timelines do not ''end'' or ''start'' in time travel and therefore do not exist.  But there a few, according to Raziel (and I suppose the Sefer Yetzirah?) we have around fourteen each.   This is the extent of free will in the museum, selecting which of the fourteen exhibits (of ''yourself'') you see and for how long you see them but they are fixed and finite.  After death you would go back through the reversiverse.

In order for the museum to be truly closed (and finite) the ''invention'' must happen in the past as well as the future - these moments are called the pinchpoints.  The past and future past the pinchpoints are absolutely free, or untied, but they would not be realisable without that knot.  At the moment of the invention of time travel, hordes of timetravellers will spontaneously appear and time will merge (?) with space.  These timetravellers will appear incredibly alien - whether humans have morphed beyond all reckoning by then, or that these alien appearances are in fact necessary components of the time travelling suits such entities would wear, I don't know.  What I have been told is that they will be coming back along those lines from the future to their ''Year 0'', i.e. the pinchpoint, which acts as a kind of Mecca from a Time Traveller's perspective.  Something somehow similar must happen in the past as well - more mindbending problems for 2017!

He permuted them, weighed them, and transformed them,
Alef with them all and all of them with Alef
Bet with them all and all of them with Bet.
They repeat in a cycle and exist in 231 Gates.
It comes out that all is formed
And all that is spoken
Emanates from one name.

2:5 Sefer Yetzirah, Gra Version

What is the ''invention'' of time travel, does it really need high energy particle accelerators to achieve or does it already exist as consciousness - are the birth and death of language themselves the source/invention of time travel - if so is the pinchpoint we are approaching the death of language - what does that look like?  Is that what happens when the timetraveller swarms emerge?  Are we literally lost for words?  Is that realisable?  Earlier work on the Metabolism of Time shows how our character generates an attitude to time, or vice versa.  Our minds time travel constantly and inaccurately through memories and imagination - to what extent can these faculties be polished like a diamond - truly reflecting the future and the past?  Is our mind the source of anti-time and are we therefore time travellers already - just with greater and lesser degrees of understanding? Can I then see the deep future or is the death of language the death of realisation itself, does my language really determine what I can see? 

In the past I have always enjoyed spirits that can reduce me to an inarticulate wow.