I.Mag.ery

Taken from Wikipedia:

Zdzisław Beksiński ( 24 February 1929 – 21 February 2005) was a renowned Polish painter, photographer, and sculptor who is best known as a fantasy artist. Beksiński executed his paintings and drawings either in what he called a 'Baroque' or a 'Gothic' manner. The first style is dominated by representation, with the best-known examples coming from his 'fantastic realism' period when he painted disturbing images of a surrealistic, nightmarish environment. The second style is more abstract, being dominated by form, and is typified by Beksiński's later paintings. Beksiński was murdered in 2005.

The Mind(Deans) is the Slayer of the Real(Sayer of the Real~I think not!)

The Or
The Ore
Other

Or - [Ctontra. french. adher, adhor, one of two] a connective that marks the alternative.

Ore - Compound of a metal and some other substance by which its properties are disguised.

Other - additional second of two. 2. not this but the contrary.

ottar - [see attar] a highly fragrant oil obtained from the rose.

otter- [otor, oter.] an amphibious carnivorous animal of several species.

ottoman [from Othoman or Othman.] pertaining to Turkey. A Turk. 2. a stuffed seat without a back.

Thor is the mighty thunderer, the one who rumbles his hammer, rides his wooden chariot drawn by RAMS. Thor of the mighty hammer, the destroyer of giants is the human mind, objective intellect. The mind is the conqueror of the mundane world. Thor was the most dependent upon of all the gods. The gods all got together and made a rule. He was so heavy, so massive, and big, that they would not let him enter Heaven by the front door. He had to go around the back because the front door was a bridge of rainbows that heaven and earth and it was figured that the bridge would never carry the weight of Thor and his hammer. So he always had to climb up the back of the mountain, by the slow and difficult path. It is said that in a sense this magic bridge that connects heaven and earth (sephiroth) is a bridge of intuition. But this Bridge is the Medulla. The mind can explore anything but of itself, it cannot experience what it explores, thus the mind is always the the beholder and the observer but never the participator.


rain[regen,ren,Goth. rign, Icelandic, regn, allied to Icelandic. rak, humor.]

rainbow - a many colored arch formed by refraction and reflection of the sun's rays in drops of falling rain.

ARCHY

rack[german.reck;reckon, to stretch, raecan, reccan, to reach] to travel with a quick amble; to steam; to rise or fly, as vapor or broken clouds. REEK

bow[see supra, and of bough.] 1. a weapon for shooting arrows. 2. An instrument having a curved form. (BOWMAN)

bough(bou) [boga, from beogan, bugan, to bow to bend.] a large branch of a tree.

author[latin. auctor, french. augere, to increase, produce] 1. beginner or former of anything; CREATOR; originator. 2. One who writes a book.

authority - legal or rightful power; rule; influence; credit. 2. pl. saying things which carry weight; persons in power. synonymous with force; rule; sway; command; dominion; control; influence; warrant.

war[old english. werre, from O.H. German. werran, to confound, mix]

warrant[old french. warantir, garantir, guarantin, to warrant. O.H. German weren]

guaranty[old french. guarantie, from O.H. German. weren, to warrant keep] an undertaking to answer in case of the failure of another person to pay or perform; a warranty; a security. 1. to engage that another shall perform what he has stipulated. 2. to undertake to secure to another. 3. to indeminify; to save harmless.

guard[old french. guarder, warder, from weardian(we are deans), english. ward] to protect from danger; to secure against surprise or attack. 2. to protect the edge of. synonymous- defend; shield; WATCH. (fencing abbreviation from defense)

weir[see wear] 1 a dam in a river. 2. a fence of stakes or twigs in a stream for taking fish.

weird[wyrd, fate, fortune.] 1. skilled in witchcraft. 2. supernatural; unearthly.

wear[wore; worn; wearing] [werian, weran [linked to wren a bird, Bird Men])(we ran from africa) to carry, to wear, arms or clothes.] 1. to carry or bear upon the person; to have on. 2. to have an appearance of. 3. to consume, waste, or diminish, by use. 4. to cause by friction. 5. to effect by degrees. 6. [Of Ware] to on another tack, as a ship, by turning her round, with the stern to the wind.

whore - a woman who practices unlawful sexual commerce with men, especially one who does it for hire. To have unlawful sexual commerce.

WHERE ARE THE.Y(its a statement not question)HERE THE.Y ARE

Where -[hwar] 1. at what place; in what situation; - used interrogatively. 2. at which place: - used relatively. 3. to what or which place; whit her(with her); used interrogatively or relatively. [synonymous see whither].

With -nearness connection; intercourse

witch[wicce, wiglere, enchanter; witchcraft; allied to wig, holy.] 1. one given to the black art; a sorceress 2. a charming woman. CH.ARM(The Mission of RAM) "charm" "which"

wig - [abbreviation of periwig.] an artificial covering of hair for the head.

were - imp. ind. pl. & imp. subj. sing. & pl. of Be

we're

whir[hweorfan, to turn] to whirl round with noise. a buzzing sound produced by rapid or whirling motion.

whether (pronoun) [hwadher] Which of two.[Antiquated] - conjunction. Used to introduce the first of two or more alternative clauses, the other or others being connected by OR, or by or whether.

whither[hwader, hwider] same as "where"

weather[weder, allied to Skr. wa to blow] the atmosphere with respect to its state as regards heat or cold wetness or dryness, clearness or cloudiness etc.

Maidens~May.den~Mai.den~May Flower

In popular legend mermaids are a class of beings part woman and part fish. They live in the sea, but are represented often as seated on the rocks, a lovely woman with a human head and body ending in a scaly fish's tail. She has long, beautiful hair, which she combs with one hand, holding the mirror above the waves with the other. They sometimes seem to have exercised a special care of individuals, and often re-veiled future events. There are stories of their falling in love with men and remaining faithful wives and mothers for a long season, until they found a chance of returning to the sea, and also of their enticing their lovers to their ocean homes.

comb[camb, Icelandic, kambr] 1. an instrument for separating and adjusting hair, wool etc. 2. crest on a cock's head. 3. Top, or crest, of a wave. 4. to disentangle, cleanse, and adjust. 5. To break with a white foam.

combat[french.combattre, from com and battre to strike, beat]

combine[latin. combinare french. com, for con, and binus plural, bini two and two double]

combustion - taking fire and burning

coma[Greek. lethargy] a morbid propensity to sleep

Lethe[forgetfulness] 1. Greek myth, one of the rivers of Hell, which caused forgetfulness to those who drank of it. 2. Obilvion; a draught of oblivion.

maid[magedh, magdh, magden, maeden] 1. a virgin; a maiden 2. a female servant

maiden[see supra] a maid 2. An instrument for beheading criminals 1. Pertaining to a young unmarried woman 2. Fresh; new; pure; virgin

magic[see magi] Science or practice of evoking spirits or educing the occult powers of nature, and performing things wonderful by their aid.

supra - on top; above

Magdalen[from Mary Magdalene. see Luke vii36] a reformed prostitute (AL~male on the inside)

den - 1. a cave used for concealment or security 2. a haunt; a retreat

haunt[french. hanter, french. hentan, to pursue] to frequent

hen- [henn, hen, french. hana] female of any fowl; especially, the domestic fowl.

fowl [fugol, fugel, allied to fleogan, to fly] a bird especially a wild bird

foul[ful, sordid] 1. containing extraneous matter which is injurious or offensive. 2. morally defiled. 3. cloudy or rainy. 4. loathsome; hateful. 5. entangled.

hand[hond] 3. a measure of four inches. 4. Slide part. 5. Actual performance; hence, manner of performance. 6. An agent or servant. 9. Agency in transmission



The SIRen, the compelling character of the mermaid in pictures, is an attempt to express the irresistible qualities of VOICE, (the little mermaid gave up her voice)of what she sings. No one who hears it can prevent themselves from wanting to reach that song. Wanting to go over to the other side and that other side is a kind of death. That foreknowledge of what is to come or that sweet irresistible chant the sailor hears and throws himself into the sea to follow, is the enchantment of language, of expression, of the idea of hearing that you can't say no to because the pictures it conjures up are so beautiful. There is a sense of the child in the womb, in the watery vessel, it hears the maternal voice and that babble, that incoherent space, is the space of bliss, the space that you wish to get back to. So the mermaid is the blissful, rocking, containing voice of the mother when you are in your infantile lack of separation and before all the grief and misery of being a human being hits you. So its the primal memory that you want to return to.


The Valkyries or Valkyrja(the chooser of the slain) were a troop of goddesses, the handmaidens of Odin. They served in Valhall, and were sent on Odin's errands.



Phonetic:Val~Cur~Reese(2nd here)/Val~Cur~Ruse

Valance[from Norm.French. valant, french. avalant,descending, hanging down](see vail) hanging drapery for a bed a couch or a window. (windows to reality)

Vail[written also veil]a concealing screen[from old English. avail, to let down, french. Latin.- ad, to, and vallis, valley] to lower in token of inferiority, reverence, or submission.

Vale[of valley] low ground between hills

cur[contra. French-Latin-German. koter, kother, a common dog, original dog of a cot, french-German.koth, English. cot] A worthless degenerate dog. (Neanderthals bitches)

cott[cote,cyte,cottage] bed, coach, a little bed that can be folded together.

coterie[french, cote, share, portion] a set of person's who meet familiarly; a club

site[latin. situs, french. sinere, situm, to let put, or set down] place for a building, a situation.

sit[sitton, allied to Skr. sad] to remain in repose; to abide. to incubate; to brood over. 6. to be engaged in public business, as legislators etc.

The Unseen World

Here is my secret. It is very simple. It is only with the heart that one can see rightly; What is essential is invisible to the eye. -Antoine de Saint Exupéry

Earth crack in Michigan is getting bigger!

http://www.godlikeproductions.com/forum1/message1237405/pg1

Dark Matter

I have seen the none place.
I have been outside the world.
Outside the walls and occupied the
impossible position, the view from nowhere.

Po~Et~Tree--PO~IT~THREE

Po.et.ry comes from the Greek word poico, "to make" or "to create". A complete definition of poetry is impossible, its higher qualities defying analysis and description. According the etymology of the word it signifies a production or creation of any kind; but in actual use it app.lies to the products of the imagination and to the form or language in which they are expressed. Here the critics differ as to whether any composition should be called poetry unless it is constructed in regular measure or matter - that is, whether it must be poetic in form as well as in essence. Certain it is that our literature as well as the literature of other nations abounds in works highly imaginative and composed in truly poetic language, but which are generally called prose works because of their form has not been reduced to meter or rhyme. The book of Ruth in the Old Testament is decidedly poetical in its substance, but prosaic in form, and the same may be said of the book of Job and the writings of the prophets. But whether we consider rhyme and meter essential to poetry or not, they greatly increase not only its beauty but its effect.

The reason of this is that the music of the words so arranged heightens the emotion produced by their meaning, and thus furthers the end that the poet has in view; and so the poet is ever a "maker" as well as a singer. But, on the other hand, neither meter alone nor meter combined will constitute poetry, unless there be truly poetic thought clothed in poetic language. The three principal kinds of poetry are the epic, the lyric and the dramatic. The first of these refers in general to poems that are to be read or recited, not sung. It included matters of narration, real or fictitious, philosophical reflections, etc. Lyric poetry includes the song in all its varieties, the hymn, the ode, the anthem, the sonnet, etc. Dramatic poetry embraces tragedy and comedy. In actual poetic compositions the distinction between these divisions of poetry is not always clear, as each one of them frequently contains elements belonging to the others.

In a Dark Time

by Theodore Roethke

In a dark time, the eye begins to see,

I meet my shadow in the deepening shade;

I hear my echo in the echoing wood—

A lord of nature weeping to a tree.

I live between the heron and the wren,

Beasts of the hill and serpents of the den.

What’s madness but nobility of soul

At odds with circumstance? The day’s on fire!

I know the purity of pure despair,

My shadow pinned against a sweating wall.

That place among the rocks—is it a cave,

Or winding path? The edge is what I have.

A steady storm of correspondences!

A night flowing with birds, a ragged moon,

And in broad day the midnight come again!

A man goes far to find out what he is—

Death of the self in a long, tearless night,

All natural shapes blazing unnatural light.

Dark, dark my light, and darker my desire.

My soul, like some heat-maddened summer fly,

Keeps buzzing at the sill. Which I is I?

A fallen man, I climb out of my fear.

The mind enters itself, and God the mind,

And one is One, free in the tearing wind.

Hidden in Plain View

Observe in the third scene closely, what is being said and what you're witnessing transpire. This female with her hair which is constantly changing colors(formlessness-wisdom-intuition) manages to slip into this well guarded fortress(the mind). We must never assume that intellection is the substitute for the internal experience of the individual. The mind is the instrument of recollection and also enables us to take a particular experience and expand it or extend it over a larger area of circumstances. The mind can take the key achieved by intuition and place it in many locks giving us broader insight then we previously possessed. But the mind unless it is moved by the spine, itself it is merely an intellectual tyrant. Therefore you have the Mahayana Buddhist text, The Voice of the Silence, says: "Mind is the great Slayer of the Real. Let the Disciple slay the Slayer." The "Real" is beyond mind. But only the mind of the disciple slays the Real. It becomes the slayer. That is just the philosophical standpoint, that scene is something which can be considered literally as well, since women have been genetically altered and used as spies. [see Samson and Delilah]

Do not give dogs what is holy; and do not throw your pearls before swine, lest they trample them underfoot and turn to attack you. (Jesus Christ, Matthew 7:6) As Christ himself understood, talking in parables is often the best way to teach a lesson, for it allows people to realize the truth on their own. Communication depends on metaphors and symbols, which are the basis of language itself. A metaphor is a kind of mirror to the concrete and real, which it often expresses more clearly and deeply than a literal description does.

At the heart of Freemasonry is allegory and symbolism.The moment we lock our thoughts in words we restrict our meanings and hand our will to the creator of those words. Dogmatism has been imposed on symbols and concepts which grow by peoples lack of understanding. There could be a thousand interpretations already known for a certain symbol but if we are content to accept any or all of them we shall shall someway deprive ourselves of the greatest adventure of all and that is personal exploration of the idea, the search within ourselves for meaning. The language of symbolism invites us all to search for meaning. Symbolism is a language in itself, it relates to things about which there is no common knowledge.

In Symbolic languaging you have statements used to conceal tremendous truths. The most powerful symbol goes beyond action into symbol. The power of a symbol - a flag, a mythic story, a monument to some emotional event - is that everyone understands without anything being said. Never neglect the way they arrange things visually. Factors like color, for example, have enormous symbolic resonance.

A symbol can contain dozens of meanings in one simple phrase or object. The Ruse of the Stars (Zoroaster) is a trick that has been used for thousands of years. Symbols can be used as an instrument that strikes with an emotional power and immediacy that leaves no gaps for reflection and doubt. Imagine the Moon Doctor trying to make a case for his medical practice, trying to convince the unconverted by telling them about the healing powers of the moon, and about his own special connection to a distant object in the sky.

Fortunately for him, he was able to make a compelling spectacle that made words unnecessary. The moment his patients entered the beer hall, the image of the moon spoke eloquently enough. The use of scapegoats is as old as civilization itself, and examples of it can be found in cultures around the world. The main idea behind these sacrifices is the shifting of guilt and sin to an outside figure - object, animal, or man - which is then banished or destroyed. The Hebrews used to take a live goat(hence the term "scapegoat") upon whose head the priest would lay both hands while confessing the sins of the Children of Israel.

Having thus had those sins transferred to it, the beast would be led away and abandoned in the wilderness. With the Athenians and Aztecs, the scapegoat was human, often a person fed and raised for the purpose. Since famine and plague were thought to be visited on the humans by the gods, (also known as - NEANDERTHALS) in punishment for wrongdoing, the people suffered not only from the famine and plague(science) themselves but from blame and guilt. They freed themselves of guilt by transferring it to an innocent person, whose death was intended to satisfy the divine powers and banish the evil from their midst.

It is an extremely human response to not look inward after a mistake or crime, but rather to look outward and to affix blame and guilt on a convenient object. When the plague was ravaging Thebes, Oedipus looked everywhere for its cause, everywhere except inside himself and his own sin of incest, which had so offended the gods and occasioned the plague. This profound need to exteriorize one's guilt, to project it on another person or object, has an immense power, which the clever know how to harness. Sacrifice is a ritual, perhaps the most ancient ritual of all; ritual too is a wellspring of power. In the killing of de Orco, note Cesare's symbolic and ritualistic display of his body.

By framing it in this dramatic way he focused guilt outward. The citizens of Romagna responded instantly. Because it comes almost naturally to us to look outward rather than inward, we readily accept the scapegoat's guilt. The bloody sacrifice of the scapegoat seems a barbaric relic of the past, but the practice lives on to this day, if indirectly and symbolically; since power depends on appearances, and those in power must never seem to make mistakes, the use of scapegoats is as popular as ever. What modern leader will take responsibility for his blunders? He searches out for others to blame, a scapegoat to sacrifice. Is it any wonder why they call children KIDS (baby goats) who seem to be the excuse for these charity Masonic scam organizations to promulgate their agenda?

They come and GO like a Hot gust of wind

Simoom or SIMOON is a hot suffocating wind, common in the deserts of Africa and Arabia. It is very much like a cyclONE, with a calm center surrounded by whirling blasts of very hot air, the whole moving slowly from south to north, or east to west. It often carries along columns of sand, and is indicated by a purple atmosphere. It is very injurious to both humans and animals, causing severe pain and a feeling of suffocation. It lasts only for a few minutes, not more than twenty at the most, and occurs in spring and summer.

Simonians were an ancient sect founded by a sorcerer of Samaria mentioned in the book of Acts named Simon Magus or the magician. Simon Magus claimed to be the great power of God, thinking that the gifts of the Holy Ghost were venal, and to be purchased with money. He is said to have invented the Aeons, which were so many persons of whom the Godhead was composed. His concubine Helen, he called the first intelligence, and mother of all things; and sometimes called her Minerva, and himself Jupiter. Simon Magus gained a great many proselytes, who paid himself and his concubine divine worship. Justin Martyr says that he went to Rome, where a statue was erected to him with the inscription "To Simon the Holy God." Hippolytus records that he met Peter at Rome and that he ordered his followers to bury him, promising to rise on the third day. But these stories rest on very uncertain foundations and leave only as certainty the existence of a great con man skilled in the arts of Magism.

Simon says is a game for three or more players (most often children). One of the people is "it" – i.e., Simon. The others must do what Simon tells them to do when asked with a phrase beginning with "Simon says". If Simon says "Simon says jump", the players must jump (players that do not jump are out). However, if Simon says simply "jump", without first saying "Simon says", players do not jump; those that do jump are out. In general, it is the spirit of the command, not the actions that matters; if Simon says "Simon says touch your toes", players only have to show that they are trying to touch their toes. It is the ability to distinguish between valid and invalid commands, rather than physical ability, that matters here.

It is Simon's task to try to get everyone out as quickly as possible, and it is every one else's job to stay "in" for as long as possible. The last of Simon's followers to stay in wins (although the game is not always played all the way through).

It is considered cheating to give impossible commands ("Simon says 'lift both of your legs up and keep them there!'.") or phrase the commands in such a way that the other player has no option but to 'go out' ("Simon says 'jump up'. Come down."). However, at least in some versions, it is allowed for Simon to eliminate players by asking them to do something seemingly unrelated to the game (example: "Anyone remaining join me up here.")

LIAR LYRE!

What is this place? It all depends on how much you want to know! Our lives are ruled by the C(L)OCK. The NEWS on the HOUR every HOUR so the Masses RELY on the LIARS to tell the LIES and keep them in ILLUSION. The Turkey Vulture Media! Observe and Analyze(anna lies) the symbolic significance of the Turkey Vulture; the RED head represents PERsia at the head of it all, leading the way for the rest of the BLACK BODY which are the (ignite)IGNorANT masses lost in darkness and the VULTURE part, we all know that by now. Turkey is what used to be known as the (automan~boeing) Ottoman empire. They speak with forked tongues(boasting they have the wisdom), the WORDS they use to persuade us which virtually invite us to reflect on them with the PROGRAM they have given us and we often end up believing the OPPOSITE of what they say. The power of the WRITTEN and SPOKEN WORD stirs up arguments and makes divisions.

The Lyre is one of the oldest forms of stringed instruments. The Greeks had a tradition that Mercury formed the lyre out of the shell of a tortoise(links to the OLD ONES); but as a matter of fact, we must seek for its birthplace in Asia, and to infer its introduction into Greece through Thrace or Lydia. The Egyptians also had a tradition that the lyre was first invented in their country, but they seem to have adopted it from Assyria or Babylonia. The Egyptian lyre is unmistakably SEMITIC. The lyre, unlike the lute, cannot be stopped by the fingers and its sounds be thereby multiplied; and as the numbers of its sounds can be no greater than the number of the strings, since the introduction of the modern musical scale it has fallen into disuse.

THE BIRDMEN GOT IT FROM OBSERVING NATURE!

The Lyre bird is a kind of bird of which the best known species is a native of New South Wales, where it is generally called the lyre pheasant. A bird about the size of a pheasant, it frequents the sparsely wooded country in New South Wales, but retreats from the more inhabited districts, being extremely shy and hard to approach. It is the largest of all song birds and has the rare power of imitating the songs of other birds and the sounds of other animals. The tail of the male bird has twelve long, splendid feathers and two exterior feathers curved like the sides of an ancient lyre.

The winged messenger, god of commerce, patron SAINT OF THIEVES, gamblers, and those who DECEIVE through SWIFTNESS. The day Mercury was born he invented the LIE...er....I mean lyre/liar; by that evening he had stolen the cattle of Apollo. He would scour the world, assuming whatever form he desired. Like the liquid metal named after him, he embodies the elusive, the UNGRASPABLE - the power of FORMLESSNESS.

F.Y.I.
Plato mentioned in his "Republic"(The BEE-HIVE hand-guide) that music had to be controlled by the system because it had a strong influence on the minds of the youth. Just look at the music industry today. Listen to the LYRICS (Liar I See)to all the popular songs and see for yourself. The Pythagoreans likened a just and well-ordered society to a well-tuned lyre. While each note retains its individuality, all are proportionally linked together in a larger whole to form a musical scale, and all are interdependent in terms of their reliance on one another. (See Plato, Republic 443 D–444). Justice is present in any well-functioning organism, society—and also the soul.