But seriously! Bene gesserit!

Fuck what was I going to write. It was something else good.

Oh what you have to do. One final tip before I wink off into another universe. You have to write your musical so that you start with the end and work backwards to the beginning. The “fiction” of the CrucificxtionConnexion (lexicon) is that it’s the end. That’s actually the beginning. Then it ends with Genesis. And then it ends here:

http://www.youtube.com/watch?v=KdmLmIArqWM

Anyway, your post got me thinking about those sympathetic vibrations, the way things resonate with one another, so that a vibration in one will cause the other to vibrate with it across space in time. It got me thingking about how there are two “compasses” with music, regarding chords. One has 12 points, for each of the 12 notes of the octave. Harmonic (consonant) chords on this would show up as pointers going out in all different directions. But there is a different musical compass, the circle of fifths, in which closeness is defined by “resonance/consonance/sympathicness” not pitch closeness. (as in the first) In this compass, Consonant chords would show up much more all in one sector of the compass, they would have similar bearing, because all of the consituent notes are harmonious with each other, which makes them “close”. So each compass pertains to a different sort of space.

Anyway, this a cartoony face for a much deeper thing about waves in general, and I think reality itself: “Close” on one type of compass is “nonlocal” on another.

http://www.philipcoppens.com/birdlanguage.html

But the connection goes beyond this. In the tenth Homiliarum in Ezcechielem, Gregory the Great compared the music of the angels, heard in the heavenly spheres, to birds’ singing. This was then encapsulated in the “Gregorian chants” that became famous throughout the Christian world – and which continue to lure people to churches.

I experienced something roughly similar to this the past couple nights. The first was in listening to some Moody Blues records. I suddenly realized that within the chordal moments were encoded vibrational patterns which could be translated into visual forms and that these were anything but accidental.

Semi-relevant:

http://en.wikipedia.org/wiki/Chordal_space

Extremely relevant:

http://en.wikipedia.org/wiki/Cymatics

When I described in the other post about the symbolic mind, these are pretty much exactly what I “see” internally with reference to spinning shapes and chakras etc

It seems that all forms within this world are simply slowed down vibrational frequencies, cymatics. And correspondences between these objects and forms comes from them bearing similar root vibrations

The qualitative life of things is deeper than their sensory reality,

This is *exactly* the subject of my next post!

(see also: dropping science)

Yeah the 5%ers, the Nation of Gods & Earths are ALL over this. Been thinking about them a lot lately.

The alchemical literature itself teaches you how to read it, insha’allah.

I know exactly what you mean.

This is really good.

http://www.sikhiwiki.org/index.php?title=Five_Khands

Love those Sikhs. Also been getting into Christian Science lately - speaking of “dropping science.”

Doesn’t one of the characters in the Hobbit - the Dragon Slayer dude - speak the language of birds?

It seems they must manifest in the imaginal faculty of the soul, which understands the qualities of things. The qualitative life of things is deeper than their sensory reality, so the “formation of a link” can be viewed as the uncovering (disoccultation) of the common root of the referents, they are two complementary expressions of the more fundamental pattern. (see also: dropping science) The pinnacle(?) of this symbolic play is the language of the birds, the language of the gods, the green language known by Solomon according to the Quran. Argot is ergot, ergo our God is ur-glot, got it?

The mason’s word is lost, therefore it cannot be spoken. Let’s say something else instead, something to keep out the suckerfish and hangers-on, when you turn a phrase over, it obscures and reveals simultaneously. (like wildstyle graf! http://www.gothicfuturism.com/rammellzee/01.html)

—

http://www.philipcoppens.com/birdlanguage.html
http://web.archive.org/web/20010421141...gnition.tripod.com/earth/langbird.htm

Fulcanelli’s explanation and interpretation of the green language is second to none that I know of:
http://www.scribd.com/doc/48435/Fulcanelli-Le-Mystere-de-Cathedrales

The alchemical literature itself teaches you how to read it, insha’allah.