Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God. Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother's womb, and be born?
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the japanese stargate (neo tokyo is about to explode) |
prelude
While we previously saw Scrooge bury a ball of Bombastium at the South Pole, in the "Space Varmints" comic, Scrooge finds a meteorite (a clear Graal/2001 Monolith resonator) at the South Pole.
Re-Crate or Re-Create?
Second Impact (セカンドインパクト) is a global cataclysm which occurred on September 13th, 2000, when a massive explosion occurred in Antarctica which melted the polar cap and even altered Earth's axis.[1] The explosion resulted in massive tsunamis, followed by a dramatic increase in global sea levels which flooded most coastal cities, and caused a catastrophic shift in global weather patterns.
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| freud having a field day |
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| "get that old goat out of the pilot seat"? |
Aliens, it turns out, who are surprisingly familiar. (Only the alien who has read the "storybooks" knows who they are.)
exiting the cave
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| moving perpendicularly towards the movie screen |
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| moving perpendicularly through a movie screen-shaped portal |
Joe Bisdin provides the last piece of the puzzle for decoding Kubrick. The concept is ultimately that of Plato's Cave. In 2001, Dave Bowman is depicted as entering the stargate in the "Jupiter and Beyond the Infinite" sequence by traveling through the Monolith, which is (according to many) meant to represent the movie screen itself.
In Plato's allegory, the members of the audience would only see what was projected onto a wall by figures behind them. Plato's Cave is illustrated every time you visit a movie theater. By stepping out of the movie, Bowman is stepping out of the Cave and into the light of illumination. Therefore, there is a profound insight here: Bowman is a character in a movie who at last realizes what he is.
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| innerspace man |
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| one of these nights i may just jump down that rainbow way, be with my baby, then we'll spend some time together |
Bowman is stepping out of the movie and into a new realm of existence. People will immediately recognize that this is The Truman Show. (Or is that Videodrome?)
The first step is to realize the monolith = movie screen and all that symbolically entails. One must then figuratively depart from this 2-dimensional surface of the movie screen. This exodus into space is what is referred to by A Space Odyssey in the title of the film, and why this particular chapter is subtitled And Beyond The Infinite. Dave moves beyond the infinite 2-dimensional movie screen surface of a synthesized reality into the larger 3-dimensional space of the truth [i.e., Plato's Plain of Truth]. (Joe Bisdin)
The Judgement card depicts the soul being lifted into the 4th dimension, rising perpendicularly to the 3-dimensional box. In 2001, Dave Bowman transcends the 2-dimensional cinema screen by passing through it, metaphorically going "through the looking glass" into the 3rd dimension.
Frink: Well, it should be obvious to even the most dim-witted individual who holds an advanced degree in hyperbolic topology, n'gee, that Homer Simpson has stumbled into...[the lights go off] the third dimension.
Lisa: [turning the lights back on] Sorry.
Frink: [drawing on a blackboard] Here is an ordinary square --
Wiggum: Whoa, whoa -- slow down, egghead!
Frink: -- but suppose we exte-end the square beyond the two dimensions of our universe (along the hypothetical Z axis, there).
Everyone: [gasps]
Frink: This forms a three-dimensional object known as a "cube", or a "Frinkahedron" in honor of its discoverer, n'hey, n'hey.
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| full of stars (alice, the body of nuit?) or, Divine Children peer through the veil (exit the cave) |
Bisdin considers 2001 to be illustrating a "false flag" event, but it would be better to say that Kubrick is deliberately poking at the Fourth Wall for other reasons: namely, to underscore that 2001 is merely an exoteric rendition of that which must ultimately occur within the individual, who must work out his or her own salvation. This is further emphasized at the end of the film, when the events are again repeated within a different context and narrative, showing that these are universal archetypes. (Kybrick, by the way, is another name for the universal Azoth of the alchemists.)
It should be obvious, for instance, to anyone watching the film for even the first time that the apes are merely humans in ape costumes, acting out their roles on an indoor soundstage. But this is one of Kubrick's sly references to our own dual nature. The "zebra" is really a horse, painted with black and white stripes. Therefore, as Kubrick introduces the element of artifice prior to introducing the lunar monolith, we are given to understand that larger forces are at work. Heywood Floyd himself is merely the puppet of the true Initiator, Kubrick himself.
They first encounter the Monolith on the Moon, which correlates to the sphere of Yesod in the Kabbalah, the genitals. The Discovery is a spermatozoon.
In alchemy, the Black Sun refers to the heart which must be transmuted into gold. Bowman is, once again, setting his controls for the Heart of the Sun. In the film, due to budget constraints, the Monolith itself becomes the Black Sun, while Jupiter, representing Consciousness, becomes illuminated through its workings.
There are very few women in the film--because the Monolith itself is the Great Mother, to which Bowman must return before being reborn as a "babe in the egg". The Great Mother (Cybele, the cube) was worshiped as a black stone.
Isis represents both the Mysteries and that which is concealed and conceived by them, namely, the True Self, Harpocrates. Thus is found the twofold significance of the Monolith as Initiator and Graal; signifier and signified.
Isis' throne is Scrooge Virgo-Duck's cubic Money Bin, emblazoned with the $. The Woman is the secret source of energy. (In the Gnostic mythos, the Demiurge steals his fire from Sophia.)
Weidner is profoundly wrong when he states that the Great Work has never been captured on film by anyone but Kubrick; in truth, it is the only thing that any film is ever about. Bowman's final transformation takes place in the Renaissance room--the regeneration chamber that we found Dallas and Leeloo in at the end of The Fifth Element.
Rewind: Meanwhile, Jodie Foster is no stranger to the King Kill/Japanese Stargate milieu.
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Long Live the New Flesh? Remember, Dave Bowman (like Ellie Arroway) must return to Earth (Malkuth) after becoming the Star Child. The one who exited the Cave and glimpsed the Universals will be compelled to return to the world of appearances. Shinji Ikari must re-create the universe--or, rather, his own tiny portion of it. For beauty to manifest, the Godhead must be split.
Three (spirit) becoming four (matter) represents the spiritualization of matter. (Mary assumed into heaven--or is that Atlantis?)
From the Synchromysticism Fourum:
Scrooge travels to Atlantis in search of quarters, which we should instead take as referring to the missing Quaternary. But first he must defeat the Frog King of Atlantis.
(It is easy to descend into the Underworld, but much harder to escape.)
...a spiritual challenge spurned on by having to face our shadows and dictators
the grail
stepping through the door
...
The names, John, Jane, and Shauna all have the same meaning: God is gracious because Gray keeps confusing the three characters with each other and himself.
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| "The only danger is if they send us to that terrible Planet of the Apes. Wait a minute ... Statue of Liberty ... that was our planet! You maniacs! You blew it up! Damn you! Damn you all to hell!" |
It should be obvious, for instance, to anyone watching the film for even the first time that the apes are merely humans in ape costumes, acting out their roles on an indoor soundstage. But this is one of Kubrick's sly references to our own dual nature. The "zebra" is really a horse, painted with black and white stripes. Therefore, as Kubrick introduces the element of artifice prior to introducing the lunar monolith, we are given to understand that larger forces are at work. Heywood Floyd himself is merely the puppet of the true Initiator, Kubrick himself.
The renaissance room scenes seem to largely be a collection of events within the film represented as dream sequences. (Joe Bisdin)
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| yesod: the south pole tiphereth: the north pole? |
They first encounter the Monolith on the Moon, which correlates to the sphere of Yesod in the Kabbalah, the genitals. The Discovery is a spermatozoon.
The first, the apeman sequence, is the only episode to take place on the planet earth. This would represent the realm of the Earth, or Malkuth, according to the Kabbala. The second chapter takes place off of the Earth, with Heywood Floyd going to the moon. It finally climaxes on the very surface of the moon. This chapter represents Yesod in the Tree of Life, or the realm of the Moon. The third chapter which is about the mission to Jupiter is a little more tricky. In order to understand the Kabbalic significance of this sequence it is important to understand, that in the original script, by Arthur C. Clarke and Kubrick, the space craft Discovery was heading towards the planet Saturn, and not Jupiter. As stated earlier, Kubrick was forced to switch to Jupiter because the rings of Saturn proved too difficult. The Special Effects department couldn't make them realistic enough. In the original script the planet was Saturn. This is very important because in the Kabbala, one can switch places between the Sun, or Tiperoth, and Saturn. In other words Saturn can be used as a symbolic representation of the Sun. Is it a coincidence that this third chapter, which was originally intended to be about a voyage to Saturn, is also about the third realm of the Kabbala - Tiperoth? When one considers this switch is allowed in the rules of the Kabbala this sequence comes to represent the third realm of the Tree of Life. (Jay Weidner)
In alchemy, the Black Sun refers to the heart which must be transmuted into gold. Bowman is, once again, setting his controls for the Heart of the Sun. In the film, due to budget constraints, the Monolith itself becomes the Black Sun, while Jupiter, representing Consciousness, becomes illuminated through its workings.
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fuk us hi ma |
There are very few women in the film--because the Monolith itself is the Great Mother, to which Bowman must return before being reborn as a "babe in the egg". The Great Mother (Cybele, the cube) was worshiped as a black stone.
Isis' throne is Scrooge Virgo-Duck's cubic Money Bin, emblazoned with the $. The Woman is the secret source of energy. (In the Gnostic mythos, the Demiurge steals his fire from Sophia.)
Isis also represents the Mysteries through her triple veil which hides the secret of immortality.
A statue covered in a black veil was erected on the presumed tomb of Isis, close to Memphis/Giza. On the statue’s pedestal was engraved the following inscription [according to Plutarch; but attributed to Neith by Proclus]:
"I am everything that was, everything that is, that will be and no mortal has yet dared to lift my veil."
Beneath this veil are hidden all the mysteries and the knowledge of the past ... Pulling back Isis' veil represents the revelation of the light, and to succeed in doing so is to become immortal. (The Stygian Port)
Weidner is profoundly wrong when he states that the Great Work has never been captured on film by anyone but Kubrick; in truth, it is the only thing that any film is ever about. Bowman's final transformation takes place in the Renaissance room--the regeneration chamber that we found Dallas and Leeloo in at the end of The Fifth Element.
Rewind: Meanwhile, Jodie Foster is no stranger to the King Kill/Japanese Stargate milieu.
the fool
the magdalene
Such knowledge is difficult to attain, equally difficult to describe, and in the Phaedrus Socrates reaches his peak of inspiration. Here his ideal philosopher at last conquers the beast within, the "monster more complicated and swollen with passion than the [hundred-headed] serpent Typhon." The unruly steed of his lower nature has been tamed and mastered by Nous, his divine Self. Now one of the immortals, he reaches the "end of his course." In a chariot transported by the winged steeds of his purified soul, and powered by love, he "stands upon the outside of heaven . . . and behold[s] the things beyond." Of this supercosmic world beyond the heavens, Socrates asks, "what earthly poet ever did or ever will sing worthily" (247d)?
the crowned and conquering starling
japanese stargate: the (re-created and re-generated) king's return? (seven churches in assiah)
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| (The "sky" during the Vega sequence looks more like the south pole in Eva Second Impact. ) |
.jpg)
Third Impact (サードインパクト) is the event, as predicted by the Dead Sea Scrolls in the possession of Seele, which will usher in a new stage of evolution and existence. Third Impact is a prerequisite for the Human Instrumentality Project. The event is termed "Third Impact" in reference to "Second Impact", when Adam was awakened by the Katsuragi Expedition funded by Seele. "Second Impact" itself was so termed due to the ruse that it was a meteorite impact.
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| the fifth element |
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| can you hear me, tommy westphall? |
Long Live the New Flesh? Remember, Dave Bowman (like Ellie Arroway) must return to Earth (Malkuth) after becoming the Star Child. The one who exited the Cave and glimpsed the Universals will be compelled to return to the world of appearances. Shinji Ikari must re-create the universe--or, rather, his own tiny portion of it. For beauty to manifest, the Godhead must be split.
Although the transcendental vision of truth described here and elsewhere in the Dialogues is central to Plato's philosophy, it is not the philosopher's ultimate objective. Socrates reminds us in the Republic (519e) that our world is not to be neglected. The Lawgiver intended that all citizens in the State should be happy, and divine wisdom is to infuse light, reason, and justice throughout the whole of cosmos, not in just a select few ascetics. (Cf. Timaeus 29c-31a and Laws 903c.) True, the philosopher must "die" to be reborn spiritually -- to so loosen himself from worldly attachment that he may ascend to the Plain of Truth. But, like the soul's postmortem sojourn between earth lives, the philosopher's initiatory journey in the Greater Mysteries is but a temporary absence from duties here on earth. Necessity (ananke) compels him to return. And so does something else.
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| the microcosm (plato's republic) at the north pole |
can·dor/ˈkandər/
Noun: The quality of being open and honest in expression; frankness.
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| kansassiah |
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| the new jerusalem |
Way down below the ocean where I wanna be she may be
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| king KK (κόρη κόσμου) |
Jung provided insights which facilitated Pauli with his great contributions to science, notably the exclusion principle that bears his name, a linchpin of quantum physics. It required the introduction of a fourth quantum number, a highly counterintuitive move as the new quantum number represents nothing that can be visualised. However, it made sense in Jung's archetypal conception of things because a three becoming a four, the symbol of quaternity, represents a state of greater wholeness than a trinity.
Three (spirit) becoming four (matter) represents the spiritualization of matter. (Mary assumed into heaven--or is that Atlantis?)
From the Synchromysticism Fourum:
The Fantastic Four Elements, of course, gain their superpowers (are "glorified") on a flight into space--that is, "heaven".
Scrooge travels to Atlantis in search of quarters, which we should instead take as referring to the missing Quaternary. But first he must defeat the Frog King of Atlantis.
(It is easy to descend into the Underworld, but much harder to escape.)
...a spiritual challenge spurned on by having to face our shadows and dictators
(it always starts with the black sun)
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| masks of god |
Victor von Doom, like Gaddafi (God-daffy), is a tinpot dictator. (Libya is the labia.)
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| it takes all four (gotta have pneuma) |
It is not always so easy to unite these polarities...
| Futurama | Thursdays 10/9c | |||
| Mermaid Mating | ||||
| ||||
"Why couldn't she be the other kind of mermaid:
with the fish-part on top and the lady-part on the bottom..."
Nommo/Nemo
Again we see Invisible Woman (Air) attracted to a man of Water
(Mr. Fantastic [Water Elemental] and Namor {Nommo} [King of Atlantis])
(nimoy?)
. . .
just for one day?
Deckard: Tyrell had told me Rachael was special. No termination date. I didn't know how long we had together . . . Who does?
"We came in search of the secret of immortality. To be like Gods. And here we are: Mortals. More human than ever. If we have not obtained immortality at least we have obtained reality. We began in a fairy tale and we came to life. But, is this life reality? No! It is a film! Zoom back camera!"
"Goodbye to the Holy Mountain. Real life awaits us."
the grail
stepping through the door
Let me back up a moment and set up the comic so I can tell you how cool the payoff is. Ben Grimm, the Thing, is on the doorstep to Heaven, not quite dead, so his family, the FF, decide to go save him. There, Ben is waiting for them with his brother. He can’t get into Heaven because the gate is barred by a gate very much like something Reed would create. But of course, the gate to Heaven isn’t barred by technology, instead, it’s barred by the human heart. Once the four open their hearts, the gate opens and they pass through a bizarre collage and find…
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| the king |
...
The cause for Gray’s madness in the film is his obsession with himself. Even Gray's profession revolved around Narcissism. Being an actor, he was constantly watching himself in movies and magazines. For example, in the beginning of the film Gray was at his movie with Shana where he was watching himself in the movie while he was chased by himself. An example of Gray's narcissistic tendencies is when he was having a dream where Gray and Shauna were sitting on their couch watching themselves on television watching themselves watch television.
The names, John, Jane, and Shauna all have the same meaning: God is gracious because Gray keeps confusing the three characters with each other and himself.
The number 4 appears on door numbers, its release date, and the VHS credit beginning time (1:44:44). It is also present in the film as the video store's address and as the date on which John's letter is written to Gray (04/04/04).
. . .
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| babylon, metropolis, or atlantis? |
I saw a woman sitting on a scarlet beast that was covered with blasphemous names and had seven heads and ten horns. (Revelation 17:3)
The ten governments differed from each other in details concerning military requirements. Each of the kings of Atlantis had complete control over his own kingdom, but their mutual relationships were governed by a code engraved by the first ten kings on a column' of orichalch standing in the temple of Poseidon. . . . "For they relate that in their time there were seven islands in the Atlantic sea, sacred to Proserpine; and besides these, three others of an immense magnitude; one of which was sacred to Pluto, another to Ammon, and another, which is the middle of these, and is of a thousand stadia, to Neptune." (Manly P. Hall)
Right on Target, Miss Arroway
Photo of the VLA, New Mexico trip, 4TH OF JULY
The mountain at the VLA
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| devil's tower, or the house of god? |
...
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| xanadu = X = the foursquare city |
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| citizen kane and the water gate |
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| what have you lost? |
. . .
the city, the holy mountain, and the coniunctio
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| the foursquare city |
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| two suns (the golden stargate) |
. . .
who's running the projector?
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| (The Gnostic Jung and the Seven Sermons to the Dead by Stephan A. Hoeller) |
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| real horrorshow |
. . .
Theologian Gerard Loughlin interprets Dark City as a retelling of Plato's Allegory of the Cave. For Loughlin, the city inhabitants are prisoners who do not realize they are in a prison. John Murdoch's escape from the prison parallels the escape from the cave in the allegory. He is assisted by Dr. Schreber, who explains the city's mechanism as Socrates explains to Glaucon how the shadows in the cave are cast. Murdoch however becomes more than Glaucon; Loughlin writes, "He is a Glaucon who comes to realize that Socrates' tale of an upper, more real world, is itself a shadow, a forgery."[7]
Murdoch defeats the Strangers who control the inhabitants and remakes the world based on childhood memories, which were themselves illusions arranged by the Strangers. Loughlin writes of the lack of background, "The origin of the city is off–stage, unknown and unknowable." Murdoch now casts new shadows for the city inhabitants, who must trust his judgment. Unlike Plato, Murdoch "is disabused of any hope of an outside" and becomes the demiurge for the cave, the only environment he knows.
