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Thread: Death, Dying, Dimensions and more

  1. #11
    Join Date
    Jan 2015
    Ingo Swann's SRI research and Persinger's god helmet research I have been studying for over four decades get thrown into a cauldron of dimensional research you could be allowed to think is not connected with the consciousness research involved in the Death and Dying aspects of what is real. But it is directly connected and it uses all that Yogananda's teachers could do.

    Conner Habib may be a rising star in the writing community who addresses the same demographics Hakim Bey, McKenna's and de-oxy discordians are galvanizing. In de-constructing the 'brothers' in threads like The Aquarian Conspiracy I have given my opinions which are anti-fear and what the 'brothers' or biblebelievers website disinfo agents (Who include a Church of Satan executive probably) are doing. I have supported the Huxley's and Esalen types for most all of my life and if a new offshoot has a vision of how to bring Peace to this war-mongering religion of racist intent (J/C/I cult) I am all for it. I knew people who were part of the science teams studying with Ram Dass and Leary. I have not knowingly had LSD but I know it is not as bad as the government made it out to be while they also continued using it in MKUltra and elsewhere (or enhancements of it - see Manchurian Candidate and Jacob's Ladder).

    Here is Conner's blog and an excerpt addressing the French situation after the cartoons in Charlie Hebdo.

    "Have I ever slipped into angry critiques that might have been misconstrued, taken out of context, or had unintended effects? Yes. Do I think that should be celebrated or honored? No.

    I feel a great sadness for the loss of life at Charlie Hebdo. I can only attempt — and I will fail in my attempt — to imagine the fear, the terror they felt as they were attacked. I appreciated the outpouring of grief and support that followed the shootings.

    I noticed, also, how it was used by people in power to make whatever point they wanted, to demean whomever they pleased. And I noticed that the outpouring of grief turned into attacks on Muslims and Arabs afterward.

    That does not mean we should not grieve.

    I do not want to be associated with the rewarding of Charlie Hebdo. That does not mean in any way that I wish to be associated with the censoring of it. It does not mean I cannot appreciate satire. It does not mean I celebrate violence, either.

    I understand my perspective is limited by my circumstance and who I am. It is, perhaps, because of these limits that I want to disassociate myself from the conflict. I am unable to fully understand. So I must go forward with what I know.

    I know I am not interested in the trap of a “Support Our Troops” version of free speech, one that cannot be discussed. It’s one that reduces human beings and suffering — whether experienced by the staff of Charlie Hebdo by Muslims and Arabs in the context the letter describes — to an unquestionable ideology.

    I know that I prefer to walk away from that version of free speech and help support, or, if need be, create a better one, one that is truly free. In the meantime, many are losing site of people, preferring the ideologies instead.

    This is happening on all sides.

    To achieve that one must first destroy love and compassion. This is why the attacks on dissenters become controlling and intimidating, insulting. The attacks become compulsive. They become “for us or against us.” In other words, they become battle cries. A shouting monologue that leaves no room for real people may be absolute speech, but there’s not much that is “free” about it.


    Thank you to the writers who signed the letter, and also to those who voiced disagreement with the dissenters in a caring and thoughtful way. Thanks, also, to PEN, whose work cannot be summarized by this one event, work that I, as a member, will continue to support and try my best to improve.

    Further reading:

    On the complexities of anti-Muslim sentiments and Charlie Hebdo in France.

    Suzanne Nossel, who advanced Charlie Hebdo’s for the award, and military intervention.

    Noam Chomsky on the hypocrisy of Je Suis Charlie outrage.

    Update: the final number of signatories when the letter was turned over to PEN on May 5 was 242."
    Last edited by R_Baird; 03-18-2016 at 02:06 PM.

  2. #12
    Join Date
    Jan 2015
    I doubt the Heavens will move me to watch Kanye West doing a rip off of Iesa (Yeezus) or any other cult creation that does not explore the truth. I don't know what to do with all these characters claiming to be Illuminati or others doing the finger-pointing about things they never really study. You might enjoy seeing how if you add a pinch of this to a pot of that you can get people to throw money at you. It lacks integrity unless done as a satire - which it might be.

    Disillusionment is not my bag but if humorous it just might be fine, like Down and Out in Las Vegas (Where I lived and loved it.). I like the title and hope he addresses the BRDs of his ancestral home near the DNN.

    "Reality is the progressive transformation of dreams; there is no world but the world of dreams …

    — Jodorowsky

    A MAN IN A TUXEDO stands alongside a baby elephant on the brightly lit stage of a dinner theater in Las Vegas. He smiles at the audience of bored and tipsy diners. Lost in a world not of her making, the elephant gazes pensively into the middle distance. The man then turns to the elephant, leans over, and, with a heave, tosses her into the stunned crowd. Screams shake the room until … people realize the elephant hurtling at them like a cannonball has disappeared. Long silence while they take this in. It’s like … magic! Our modest Merlin coughs into his sleeve. “Ladies and gentlemen …” For the next 10 minutes, he proceeds to unpack his own trick. He rubs it in: mirrors, of course, plus a projector, and, yes, the internet — the elephant is actually in San Diego. By the time he’s done, every last vestige of enchantment and mystery has disappeared, along with the elephant. Every trick we do is like this, he says.

    By robbing magic of its, well, magic, he’s pissed a lot of people off. After all, the audience already knew the trick was a trick. They’re not fools, though they paid top dollar to be fooled. Why rob them of the childish wish embedded inside every magic act: that the invisible forces at the heart of the universe are accessible to a handful of initiates, most of whom are on our side? Why snuff hope’s brief candle? Why not fan the flames instead?

    But the performer is, at heart, a novelist, and like all that ilk, he’s got the missionary urge. He’s fired by a belief that there are at least a few folks out there who’d rather know how the machinery works than live in ignorance. It is to them he speaks.

    Still, why cut through what one philosopher called the necessary illusions on which we feed? Isn’t that cruel? But the novelist isn’t trying to spoil our fun. On the contrary, he’s aiming to enhance it — to push it to a level few in his audience knew possible. It’s been that way ever since fiction’s granddaddy, Miguel de Cervantes, launched the jaunty La Mancha on a jaded world. Winking Cervantes never asked us to suspend our belief. Rather he invited us to believe differently — to listen with the wisdom of the child to his tale for adults. Disillusionment has always been the fictionista’s reason for being: it made her who she is as surely as water whelped the whale and the cocoon exhaled a butterfly.

    In an age such as ours, the importance and value of disillusionment can’t be overestimated. We live in a culture whose economy runs on the sale of fantasies. Its success in blurring the boundary between spectacle and art has contributed mightily to our national stupefaction. Art worthy of the name is life ablaze at full intensity. Not a transit space, but a place of arrival. Work that aspires to art gives us what we need yet can’t name until we meet it, like an unexpected lover. It bewilders us the way spring does after an infernal winter.

    We read for power. And power comes from seeing things as they are, even when that’s not to our liking. Like the scientist, the novelist pushes past appearances toward essences and deep structures. How else can we begin to understand who we ourselves are, and why we’re here? Disillusionment may well be a prerequisite for love. Until then, we have romance, which is what the earliest novels were called. They gave their audiences caricatures in place of characters. The representation of ideal and real sides of human personality hadn’t been integrated and the effect was to feed our fantasies without stimulating our imaginations.

    This may seem a strange introduction to Alejandro Jodorowsky’s Where the Bird Sings Best, a book in which magic, circuses, gypsies, and virtual rabbis romp across just about every page, but the dazzle of Jodorowsky’s carnival is not without purpose. His heightened images point to underlying truths obscured by the speed of the magician’s hand. Jodorowsky aims to blind us until at last we see. In the end, Jodorowsky hopes to drive us toward the ultimate recognition: that we, or at any rate our selves, are the greatest illusion of all."
    Last edited by R_Baird; 03-18-2016 at 09:45 PM.

  3. #13
    Join Date
    Jan 2015
    In the above we have a Ramana Maharshi mentioned as an example of a person terrified by death who gained enlightenment in that state of terror. I wondered about that - I know it is a moment of great energy and hormones raging through the brain and body but I see no good reason for it to be enlightening except in making you aware of your coming loss of ego - and it wanting to hang on. Anyway you will have to decide - I say he is a fraud and selling silence which makes it easy to say no student of his ever really gets anything and cannot question their master - because silence is THE way. The I AM (YHVH) consciousness is a powerful meme with much meaning, he is feeding on it. Give yourself to him and you will never get beyond your self - I say. Here is some of his advice.

    "Sri Ramana Maharshi Teachings. श्री रमण महर्षि के उपदेश with Prasanna B Joshi.

    March 11 at 3:21am ·

    "To go beyond the mind, you must be silent and quiet.
    Peace and silence, silence and peace - this is the way beyond. Stop asking questions."

    "These moments of inner quiet will burn out
    all obstacles without fail.
    Don't doubt its efficacy.
    Try it.
    Silence is the main factor.
    In peace and silence you grow.
    In peace and silence, the skin of the "I" dissolves
    and the inner and the outer become one."

    "All the glories will come with mere dwelling on the feeling ‘I am ’
    It is the simple that is certain , not the complicated.
    Somehow , people do not trust the simple,
    the easy the always available.
    Why not give an honest trial to what I say ?
    It may look very small and insignificant ,
    but it is like a seed that grows into a mighty tree.
    Give yourself a chance."

    ~ Sri Nisargadatta Maharaj

    Following 229 quotes are an excellent insight
    into the teachings of Nisargadatta Maharaj and
    helps one to get focused on the 'I AM'.

    *** Once must read complete quotes & see it’s effectiveness ***

    1) The ‘I am’ came first, it’s ever present, ever available, refuse all thoughts except ‘I am’, stay there."

    In further research I find Maharshi has a great gift for bi-location which may also include being in the flesh in two places at once like Pythagoras. I am not sure I accept the story of Papaji who wanted to do no work to demonstrate he had learned anything and broadcasted it all over India before someone shows up at his door willing to give him their lofty post at a later date so long as they both keep maintaining the same focused discipline of negating learning or questioning.

    I will agree if you have a clear and focused mind like arhats contemplating their navel you will appear to be very wise and maybe you will gain energy from those who see you have this focus. But just because someone tells you what you want to hear (Papaji told everyone that he would not pay his money to someone who had not seen God.) does not make me want to follow either of them. You can decide as you listen to this video done years after the meeting occurred.

    I also ask you to consider what the Sufis and Gurdjieff say about us sleepwalking because we are not aware of our soul or true self. That is pretty close to what my most loved Catholic guru says about our spiritual reality and evokes his "Conspiracy of Love" which we need to form the "templates" of perfect thought. The gymnosophists took some of this thought into Yoga and Hinduism and it may have some of what Papaji and Maharshi have going for them. It kinda fits my lack of belief in death - but they fear death?
    Last edited by R_Baird; 03-19-2016 at 05:51 PM.

  4. #14
    Join Date
    Jan 2015
    Adam McLean's alchemyfraternitas website brings us a glimpse into the dark side.

    "word "grimoire" in this context - under certain circumstances the lapis becomes demonic. Its creation is an ordeal - a descent into the dark night of the soul. Indeed on Mallarme's magic island is a tomb inscribed with the single word "Pulch6rie" (Beauty) hidden behind the "too great" gladiolus. Much of Mallarme's work revolved around the idea of death. The motif was a preoccupation of his mentor Edgar Allan Poe who derived his doctrine of aestheticism from the idea that absolute beauty can only be fully grasped beyond the grave. It is important to remember that this poem was dedicated to des Esseintes, the ultra-aesthete - hero of Huysmans' A Rebours. Des Esseintes was inspired by Baudelaire's injunction to seek "the new" and was thus a fictional embodiment of the heretical imperative at the heart of modern art - the compulsion to push to the limits of human experience, to "enlarge the limits of the human signifiable. But, in following this command to the letter, by secluding himself in his refined Thebaid on the outskirts of Paris and subjecting himself to a violent experiment in reversion, Des Esseintes destroys himself, Like the poet depicted in Rimbaud's Drunken Boat he finds that he must return to normality - or die. In Prose Mallarme presented his reaction to the problem posed by Huysmans in A Rebours. His answer to Des Esseintes' terrible predicament was to direct attention to the "work of patience" - the lesson of total aesthetic asceticism, total dedication to the project of hermetic purification, the slow purification of 'the word', and dialectically, the will-imagination of the artist strengthened in the flames of the creative process. In A Rebours Des Esseintes faced death (or total psychosomatic collapse). He reached the brink of the Void and fell back. Shattered and crushed in spirit he turns to God. Mallarme, on the other hand evolved a response to nihilism which counterbalanced this religious relapse. In Prose he acknowledged that Aestheticism leads to psychic death but intimated that death is an ordeal. Death can be overcome with discipline - with the work of "patience", the "science" of "atlases, herbals and rituals". Cohn reminds us that Mallarme conceived his art as a total experience, an exercise both spiritual and profane, a gnostic replacement for the "vestigial Christian myth".

    KATABASIS: TheftSonnet on X" (c 1866)

    According to Cohn this was Mallarme's "first truly hermetic poem". It was begun during a crisis known as Les Nuits de Tournon (~1866) during which the poet formulated his vocation and rejected his belief in God. The poem is untitled and is referred to as the Sonnet on X because it is composed using rhymes ending with the letter. Like many other poems by Mallarm6 this sonnet is devoted to the process of poetic creation. The second quatrain depicts the setting: an interior (perhaps inspired by a Redon drawing), an abandoned room.

    These are vague shapes of furniture and an overwhelming sense of absence, abolition or desertion. The dominant motif is a peculiar object, a shell-like container or "ptyx" described as "an abolished trinket of sonorous emptiness." A phrase in parenthesis reads:
    "...for the Master has gone to gather tears in the Styx with this single object on which nothingness prides itself." - trans. A. Hartley

    The Master-Poet has vacated his room, his inner sanctum (the essential fin-de-siècle Thebald) by some act of ecsomatic trans-location.

    The symbol of the cross (or X) was of central importance in Mallarme's aesthetic of gnostic paradox.

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