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Post by tannis on Jan 14, 2009 22:27:15 GMT
AERIAL SKY: Speaking in Tongues1 Corinthians 14:2 For one who speaks in a tongue speaks not to men but to God; for no one understands him, but he utters mysteries in the Spirit.Mummy... Daddy... The day is full of birds Sounds like they’re saying words...The Christian’s Holy Ghost descended as a dove and alighted on Christ’s head at his baptism (Luke 3:22). The Holy Ghost in the shape of a bird – a dove or a pigeon – is a very ancient pagan tradition. In India, a dove was uniformly the emblem of the Holy Spirit or Spirit of God. A dove stood for a third member of the Trinity, and was the regenerator or regeneratory power. Compare this with Titus (3:5): regeneration and renewing of the Holy Ghost. A person being baptized under the Brahminical theocracy was said to be regenerated and born again, or, they were born into the spirit, or the spirit into them—the dove into or upon them.
In Rome a dove or pigeon was a legendary spirit, the accompaniment of Venus, the emblem of female procreative energy. [With the release of the This Woman's Work boxed set there appeared a new version of the KT symbol that includes the biological symbol for woman, or the astronomical symbol for the planet Venus with her Artemis Corona.] A dove or pigeon is therefore appropriately shown as descending at baptism in the character of the third member of the Trinity. The dove also fills the Grecian oracles with their spirit and power. A dove was, in several ancient religions, the Spirit of God (Holy Ghost) moving on the face of the waters at creation (Gen. 1:2), though a pigeon was often substituted. The dove and the pigeon were used interchangeably. [See Aerial image booklet: What a lovely afternoon...]What kind of language is this? What kind of language is this? I can’t hear a word you’re saying Tell me how you are singing In the sun...1 Corinthians 14:6 Now, brothers, if I come to you speaking in tongues, how will I benefit you unless I bring you some revelation or knowledge or prophecy or teaching? 7 If even lifeless instruments, such as the flute or the harp, do not give distinct notes, how will anyone know what is played? 8 And if the bugle gives an indistinct sound, who will get ready for battle? 9 So with yourselves, if with your tongue you utter speech that is not intelligible, how will anyone know what is said? For you will be speaking into the air. 10 There are doubtless many different languages in the world, and none is without meaning, 11 but if I do not know the meaning of the language, I will be a foreigner to the speaker and the speaker a foreigner to me. 12 So with yourselves, since you are eager for manifestations of the Spirit, strive to excel in building up the church. 13 Therefore, one who speaks in a tongue should pray for the power to interpret. 14 For if I pray in a tongue, my spirit prays but my mind is unfruitful. 15 What am I to do? I will pray with my spirit, but I will pray with my mind also; I will sing praise with my spirit, but I will sing with my mind also.He who speaks in tongues edifies himself. The word "edify" means to "build up" or "charge up"--much like charging up a battery. We all need a spiritual charge. All of us at times feel spiritually drained. One of God's ways to charge your spirit is through speaking in tongues. AERIAL SKY edifies the spirit; and Aerial 5:36 sees KaTe speaking in tongues... see more: Knowledge of Reality, Issue 22, The Idea of the Holy Ghost www.sol.com.au/kor/22_01.htm Speaking in Tongueswww.tbm.org/tongues.htm
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Post by tannis on Jan 26, 2009 17:55:20 GMT
The Lady Of ThealeBut in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half-sick of shadows," said The Lady of Shalott. The painting credited to "James Southall" in the centre spread of the AERIAL booklet is a cropped and mirror-reversed image of "Fishermen and Boat" by Joseph Edward Southall (1861-1944). Fisherman and Boat by Joseph Edward Southall, 1861-1944. 1920. Tempera on linen, 19 1/3 x 33 1/4 inches.[/size][/color] The name AERIAL has been added to the side of the boat, suggesting a mirrored nod to The Lady Of Shalott singing her last song...In the stormy east-wind straining, The pale-yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Down she came and found a boat Beneath a willow left afloat, And round about the prow she wrote The Lady of Shalott."The Lady of Shalott" by John Atkinson Grimshaw Here she is, "robed in snowy white", being borne down the stream towards Camelot, at sunset...Lying, robed in snowy white That loosely flew to left and right-- The leaves upon her falling light-- Thro' the noises of the night She floated down to Camelot: And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott."The Lady of Shalott" by Arthur Hughes And here Hughes depicts the sad discovery of our now-dead "Lady". Note that, unlike Tennyson's depiction, there isn't a knight, burgher, or lord to be seen...Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, A corse between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott.Tennyson's "The Lady Of Shalott"www.lib.rochester.edu/camelot/shalcomb.htmsee more: KATE BUSH and THE LADY OF SHALOTTkatebush.proboards6.com/index.cgi?board=kickinside&action=display&thread=1678&page=2
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Post by tannis on Feb 1, 2009 12:27:31 GMT
KT: Kate Bush, Aerial and the Da Vinci Code... - King of the Mountain - religious significance? (Jesus?)
Psalm 2:1 Why do the nations conspire and the peoples plot in vain? 2 The kings of the earth take their stand and the rulers gather together against the LORD and against his Anointed One. 3 "Let us break their chains," they say, "and throw off their fetters." 4 The One enthroned in heaven laughs; the Lord scoffs at them. 5 Then he rebukes them in his anger and terrifies them in his wrath, saying, 6 "I have installed my King on Zion, my holy hill [or mountain]."
Psalm 2 is not only about David and other kings of Israel. It is also about Jesus. The prophets said that Jesus would be king of all the nations. David never ruled the whole world. Jesus will rule the whole world. He will do this when he returns to the earth. Now he is ruling in heaven with God.
Psalm 48:1 Great is the LORD, and most worthy of praise, in the city of our God, his holy mountain. 2 It is beautiful in its loftiness, the joy of the whole earth. Like the utmost heights of Zaphon is Mount Zion, the city of the Great King.
Verses 1 - 2 The *holy mountain is Mount Zion, where they built the *temple. But, in this psalm, the *holy mountain is all the city of Jerusalem. They had built it on the edge of high land, so when you came to it, it looked beautiful. The High Place of Zaphar was where all old religions thought that their god came to the earth. The *psalmist is saying that there is only one Zaphar, and only one God: Jerusalem is the real Zaphar, and the *LORD is the real God.
- PI - numbers, numerology, fibonacci sequence... - Bertie - the child, of course [Ra] - Mrs. Bartolozzi - The Widow (Mary Magdelene) (like Boticelli...?) (Italian) [Isis] - How To Be Invisible - Secret Society? (Knights Templar, Priory of Sion) [Initiation Rites] - Joanni - Joan of Arc - religious symbolism - the Cross ? - 1000's of soldiers (Knights Templar?) Who is that girl? (Mary Magdelene?) - "elle parle a dieu..." - Coral Room - "...Little brown jug..." - a container - a cup? - a grail? - Prelude - the child again - Prologue - "We're going to be laughing at this..." - Architect's Dream? - a painter & architect? - Leonardo da Vinci??!!! - The Painter's Link - Da Vinci's link... to the Priory of Sion, of course ;-) - Nocturne - "...look at the light!!!..." - religious revelation! ;-) so I put forth to you: Kate is a member f the Priory of Sion!!!!!!! ;-) yup, that's it! She a direct descendent of Jesus! She's the Holy Grail! She IS!!!!!!!!! ;-) Kate bush, Aerial and the Da Vinci Code ;-) hmmmmmmm....thehomegroundandkatebushnewsandinfoforum.yuku.com/reply/12337/t/Kate-bush-Aerial-and-the-Da-Vinci-Code-hmmmmmmm.html#reply-12337"Kate speaks with the voice of the Oneness, because she's just a little closer to God than the rest of us." (John C. Bush)gaffa.org/dreaming/td_bside.html"The fact that she is also good makes her cosmic. Every so often someone professes that Kate Bush is God. A colleague announced one time in seminar that that's what I think. I said he was wrong; she is God's sister." (Peter Monchester)gaffa.org/dreaming/tww_box.html
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Post by tannis on Feb 1, 2009 12:27:36 GMT
Mary Magdalene and The Milk of Human Kindness My mother and her little brown jug It held her milk And now it holds our memories I can hear her singing “Little brown jug don’t I love thee” “Little brown jug don’t I love thee” Ho ho ho, hee hee hee Mary Magdalene is depicted in many works of art holding a Christening vase of holy oil or more familiarly known as the alabaster jar. In ancient writings oil was synonymous with wisdom and the sacred act of anointing with oil, which Mary Magdalene is associated, meant the bestowing of divine wisdom, an initiation into the secret mysteries of our divine origins.
Magdalene is drawn from the Hebrew word magdala meaning ‘tower’, ‘watchtower’ or ‘elevated’ and is believed to be a title in reference to Mary’s high position as a priestess or wise one. The watchtower also suggests a beacon or lighthouse for lighting the way just as a lamp fuelled by oil is a beacon in the darkness. The Magdalene as the guiding light of wisdom represents the Hebrew ‘Hokmah’ and the Greek ‘Sophia’, both titles synonymous with the quintessential female spirit of wisdom.
The Magdalene is the tower of strength lighting up the shadows to reveal the wisdom of the soul. True soul wisdom is pure and delicate as the rose nestled amongst the thorns of ignorance and fear.
The grail cup associated with the Magdalene speaks of something far more ancient than biblical times. The cup symbolises the alchemical vessel that holds the primordial waters, the life blood that flows or flowers forth all creation, just as the reference to the Magdalene’s blackness is symbolic of the dark and fertile womb of the Great Mother of creation whom she represents. She is both the earthy and ethereal prima materia yet the personification of feminine grace, beauty and sensuality.
“Dark I am yet lovely…” from Solomon’s ‘Song of Songs’
The Magdalene invokes acceptance of the creative feminine power of regeneration through sacred sex and the nurturing love of motherhood expressed through the [mothers] milk of human kindness.
She holds forth the vessel that flows with the secret knowledge, encouraging us to partake of her fragrant oil of eternal wisdom. Her legacy is finally being heard, proving the words of Jesus himself saying “what she has done will be told as her memorial’ [Mark 14:6], as her oil of wisdom anoints the wounds of the ages to heal the divide and re-unite the lost bride with her groom in divine union, symbolised by the sacred marriage.
The Magdalene is the earthy prima materia, as mysterious as the deep roots and the musty earth in which they grow. She is the ethereal blue lotus rising from the dark depths of the primordial waters, pervading the ethers with her fragrant perfume. She is the ripe redness and fertility of pomegranate and the red of henna. Red is the sacred colour of the Goddess symbolic of her life giving blood, to be stained with or clothed in red was to be her representative. She is intoxicating as jasmine and exotic as the white lotus. As pure and delicate as the virgin wild rose and voluptuous as the multi-layered mysteries of the hundred petalled rose. She stimulates and excites as she slowly unfolds like an enticing lover to reveal to us her hidden secrets.
The blue lotus or waterlily of the Nile was at the heart of the ancient Egyptian creation myth, it was said to arise from the depths of the primeval waters of the cosmic womb of the great mother of creation, ‘Nun’. From the heart of the lotus the golden sun child, Ra was birthed amidst a divine perfume that wafted on the waters of the cosmos. The blue lotus was associated with wisdom and attributed to the Mother Goddess Isis whose mysteries the Magdalene is believed to have been a priestess of.
The Alchemy of Magdalene www.sahu.tv/product/22/default.asp
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Post by tannis on Feb 1, 2009 21:11:33 GMT
Mary Magdalene and Pi Approximation Day Sweet and gentle and sensitive man With an obsessive nature and deep fascination For numbers And a complete infatuation with the calculation Of PI Saint Mary Magdalen Also known as Maria Magdalena Mary Magdalene the Sinner
Memorial 22 July (22/7)
Profile Friend and follower of Jesus. Filled with sorrow over her sin, she anointed Christ, washed his feet with her hair. Exorcised by Him. Visited by the Risen Christ. saints.sqpn.com/saintm11.htm
Pi Day and Pi Approximation Day are two holidays held to celebrate the mathematical constant (pi). Pi Day is observed on March 14 (3/14 in American date format), due to Pi being roughly equal to 3.14. Pi Approximation Day is observed on July 22 (22/7, Saint Mary Magdalene's feast day), due to Pi being roughly equal to 22/7 (22/7 is the more common day/month date format, an ancient approximation of pi).So KaTe's hymn to Pi can also be heard as a hymn to Mary Magdalen... The "sweet and gentle and sensitive man" could reference Jesus Christ. Or perhaps King Solomon... 1 Kings 7:23 He [Solomon] made the Sea of cast metal, circular in shape, measuring ten cubits from rim to rim and five cubits high. It took a line of thirty cubits to measure around it.
It is often claimed that the Bible states that pi is exactly 3, based on a passage in 3 Kings 7:23 (ca. 971-852 BCE) and 2 Chronicles 4:2 giving measurements for the round basin located in front of the Temple in Jerusalem as having a diameter of 10 cubits and a circumference of 30 cubits. Rabbi Nehemiah explained this in his Mishnat ha-Middot (the earliest known Hebrew text on geometry, ca. 150 CE) by saying that the diameter was measured from the outside of the brim while the circumference was measured along the inner rim. The stated dimensions would be exact if measured this way on a brim about four inches wide. The interpretation of the Biblical passage is still disputed, however, and other explanations have been offered, including that the measurements are given in round numbers (as the Hebrews tended to round off measurements to whole numbers), or that cubits were not exact units, or that the basin may not have been exactly circular, or that the brim was wider than the bowl itself. Many reconstructions of the basin show a wider brim (or flared lip) extending outward from the bowl itself by several inches.Mary Magdalene and Mrs. Bartolozzi Out of the corner of my eye I think I see you standing outside But it's just your shirt Hanging on the washing line Waving its arm as the wind blows by And it looks so alive Nice and white According to John, Mary Magdalene was the first witness of the Resurrection appearances of Jesus, though at first she did not recognize him. When he said her name she was recalled to consciousness, and cried, Rabboni. She wanted to cling to him, but he forbade her: John 20:17 "Jesus said to her, 'Do not cling to Me, for I have not yet ascended to My Father; but go to My brethren and say to them, "I am ascending to My Father and your Father, and to My God and your God."'"And there's a rumour that you’re on ice And you'll rise again someday
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Post by tannis on Feb 1, 2009 23:11:31 GMT
A(e)riel and Mary Magdalene Many of you guys may already be aware of this, but in Dan Brown's Da Vinci Code (Page 349/350 if you're really interested) he talks about Disney's The Little Mermaid (Ariel - yes I know it's spelt slightly differently) and says that (quote) "The Little Mermaid's name, Ariel, possessed powerful ties to the sacred feminine and, in the Book of Isaiah, was synonymous with "the Holy City beseiged"". He seems to be saying that Ariel was based on Mary Magdalene. Interesting.....?thehomegroundandkatebushnewsandinfoforum.yuku.com/topic/6557/t/Ariel-Goddess-links.htmlSymbolism in Disney’s The Little Mermaid:
Ariel, the "little mermaid" in the Disney® film, is much more than a fairy tale for little girls. Rather, she is a powerful metaphor for the plight of the "Sacred Feminine" over the last several thousand years of western civilization. In several ways, she is an allegory to Mary Magdalene. One aspect is the long wavy red hair, a commonly held attribute of Mary Magdalene.
And what is the dream and desire of Ariel, the littlest mermaid? To walk upon the green earth, out in the sunlight.
In her cave under the ocean, Ariel collects artifacts from Spanish galleons shipwrecked at sea. She examines the commonplace items used by humans and wonders what they are for and what it would be like to be human. Among her treasures is a painting by Georges de la Tour called "Magdalen with the Smoking Flame." Mary is gazing at a candle burning on the table beside her.
Of all the possible pictures in the history of art, it is significant that the directors of the Disney film chose Mary Magdalene who represents the lost bride (of Jesus) and is the archetype of the "Sacred Feminine”.
In the film, the little mermaid does not carry a book and a mirror by accident. These are icons readily identified in Medieval art. The mirror is not just a symbol for feminine vanity but represents the role of the material world (Mater, mother, matter) to manifest the Divine in "the flesh," as the moon mirrors the sun. The book represents all natural and spiritual law -- science and revelation -- and the seeking of wisdom.
In the Disney film, true to some aspects of ancient mermaid lore, Ariel saves the drowning prince.
An interesting aside is that the Merovingian bloodline, identified as the "vine of Mary" in the heresy of the Holy Grail, is said to have had a mermaid as a ancestor and to be descended from a king "Merovee" who was half man, half fish. Mermaids are prominent among the medieval watermarks related to the heresy of the bloodline, and some are rendered with the fleur-de-lis of the Merovingians entwined around their double tails. The connection of Mary Magdalene with the mermaid and the "Queen of the Sea" is very old.
In The Da Vinci Code, the main character Langdon interprets the Disney movie The Little Mermaid as an attempt by Disney to show the divine femininity that has been lost.
After citing the sacred feminine in Cinderella, Sleeping Beauty, and Snow White, Langdon finally elaborates on The Little Mermaid, which was released by Disney Studios 23 years after Walt Disney’s death: (although Disney had conceived of it in the 1930's)
…he had learned not to underestimate Disney’s grasp of symbolism. The Little Mermaid was a spellbinding tapestry of spiritual symbols so specifically goddess-related that they could not be coincidence.
When Langdon had first seen The Little Mermaid, he had actually gasped aloud when he noticed that the painting in Ariel’s underwater home was none other than seventeenth-century artist Georges de la Tour’s The Penitent Magdalene – a famous homage to the banished Mary Magdalene – fitting décor considering the movie turned out to be a ninety-minute collage of blatant symbolic references to the lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, Mary Magdalene. The Little Mermaid’s name, Ariel, possessed powerful ties to the sacred feminine and, in the Book of Isaiah, was synonymous with the besieged. Of course, the Little Mermaid flowing red hair was certainly no coincidence either.
Brown uses descriptions of works of fine art to prove that art can tell stories that history tends to obscure. These works of art include Da Vinci Last Supper, Madonna of, Mona Lisa, which hide symbols of goddess worship and the story of the Magdalene; the Church of Saint-Suplice, which still contains an obelisk, a sign of pagan worship; and tarot cards, which hide themes of pagan mythology. These art objects are constantly viewed by people who see them without seeing their hidden meanings.
The Symbolism of Red Hair: Sophie Neveu's red hair, mentioned at the beginning of The DaVinci Code, foreshadows her divine blood. When Langdon first sees Sophie, he calls her hair burgundy and thinks that her attractiveness lies in her confidence and health. Later, at Teabing chateau, Teabing shows Sophie that Mary Magdalene is depicted with red hair in 'The Last Supper'. Langdon also thinks the mermaid Ariel's red hair in The Little Mermaid is evidence that Disney intended his movie to be an allegory of the story of Magdalene. By the end of the novel, when Sophie's brother gives a tour of the Rosslyn Chapel and his hair is described as strawberry blonde, we understand that Sophie and her brother are of Mary Magdalene bloodline.
By the way, Dan Brown has incorrectly identified the painting. The painting in The Little Mermaid is not The Penitent Magdalen, found in the Metropolitan Museum of Art. It is actually Magdalen of Night Light, found in the Louvre. Georges de la Tour painted at least three Magdalenes (all very similar). Another is The Repentant Magdalen.
Another unmistakeable attribute of the Little Mermaid is that she is one of a very long line of Disney characters with dead or missing mothers. There is even a club dedicated to this topic. What this really symbolizes is unclear. Are the mothers dead because it would be a boring movie if mom is alive since the mother is a character's protector? It seems like a stretch to say that Walt Disney himself was against mothers, since many of the Disney movies without mothers came long after Walt was dead. It seems to have become a tradition at Disney.
Symbolism and Folklore in The Little Mermaid www.the-little-mermaid.com/symbolism.phpPart of your world -HIGH QUALITY- The Little Mermaidwww.youtube.com/watch?v=Ex3n6nFJbSo
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Post by tannis on Feb 23, 2009 23:27:42 GMT
I feel I wanna be up on the roof I wanna be up, up on the roof Up, high, high on the roof I feel I gotta be up on the roof I feel I wanna be up on the roof Up, up, high on the roof High, high on the roof In the sun...On The Red Shoes liner notes, KaTe thanks "Suzy Millais". Mrs Suzy Millais appears to be a Transpersonal Psychologist. So, if The Red Shoes represents a Nadir Experience, does Aerial represent a Peak Experience or "Mystical Experiences with Psychotic Features" (MEPF)? ... Transpersonal Psychology
An important figure in the establishment of transpersonal psychology was Abraham Maslow. Maslow had already published work regarding human peak experiences, and was one of the people, together with Grof and Frankl, who suggested the term "transpersonal" for the emerging field.
Maslow studied what he called exemplary people such as Albert Einstein, Jane Addams, Eleanor Roosevelt, and Frederick Douglass rather than mentally ill or neurotic people, writing that "the study of crippled, stunted, immature, and unhealthy specimens can yield only a cripple psychology and a cripple philosophy." Maslow also studied the healthiest one percent of the college student population. In his book, The Farther Reaches of Human Nature, Maslow writes, "By ordinary standards of this kind of laboratory research... this simply was not research at all. My generalizations grew out of my selection of certain kinds of people. Obviously, other judges are needed." In Maslow's hierarchy of needs, the need for self-actualization is the final need that manifests when lower level needs have been satisfied.
Near the end of his life Maslow revealed that there was a level on the hierarchy that was above self-actualization: self-transcendence. "[Transcenders] may be said to be much more often aware of the realm of Being (B-realm and B-cognition), to be living at the level of Being… to have unitive consciousness and “plateau experience” (serene and contemplative B-cognitions rather than climactic ones) … and to have or to have had peak experience (mystic, sacral, ecstatic) with illuminations or insights. Analysis of reality or cognitions which changed their view of the world and of themselves, perhaps occasionally, perhaps as a usual thing."
The Fourth Force of Psychology
Maslow added transpersonal psychology to the first three forces in Western psychology - behaviorism, psychoanalysis, and humanistic psychology. For Maslow, behaviorism and psychoanalysis were too limited in scope to form the basis of a complete psychology of human nature. Psychoanalysis is derived largely from studies of psychopathology. Behaviorism has attempted to reduce the complexities of human nature to simpler principles but has failed to address fully such issues as values, consciousness, and love. Many humanistic psychologists have used Maslow's theories, especially his work on self-actualization, as the framework for their writing and research.
In 1968, Maslow called attention to the limitations of the humanistic model. In exploring the farthest reaches of human nature, he found that there were possibilities beyond self-actualization. When peak experiences are especially powerful, the sense of self dissolves into all awareness of a greater unity. The term self-actualization did not seem to fit these experiences.
Transpersonal psychology contributes to the more traditional concerns of the discipline an acknowledgement of the spiritual aspect of human experience. This level of experience has been described primarily in religious literature, in unscientific and often theologically biased language. A major task of transpersonal psychology is to provide a scientific language and a scientific framework for this material.
Transpersonal Psychology examines a broad range of concepts (Walsh & Vaughan, 1993). Some of its key concepts are:
PEAK EXPERIENCES, a term originated by Maslow (e.g., 1971). He wanted to study mystical experiences and other experiences of optimal psychological health, but he felt the connotations of religion and spirituality would be too limiting. Therefore, he began using "peak experiences" as a neutral term. A peak experience has some (but not necessarily all) of the following characteristics: - very strong or deep positive emotions akin to ecstasy, - a deep sense of peacefulness or tranquility, - feeling in tune, in harmony, or at one with the universe, - a feeling of deeper knowing or profound understanding, - a sense that it is a very special experience that would be difficult or impossible to describe adequately in words (i.e., ineffability).
Research on peak experiences has identified the frequency, triggers, psychosocial correlates, and consequences of peak experiences. For instance, virtually everyone in representative surveys reports some kind of peak experience, and a small percentage reports profound peak experiences similar to classical mystical experiences. It has also been shown that people tend not to discuss peak experiences with each other. The most common reasons were that they felt it was a personal and intimate experience which they did not want to share, that they did not have adequate words to describe it, and that they were afraid others might devalue the experience or think they were crazy (Davis, et al., 1991). This under-reporting of peak experiences may count in part for their exclusion from much of psychology and certainly a focus on peak experiences has been discouraged by most approaches to psychology. Transpersonal Psychology encourages the inclusion of peak experiences as important windows on mental health and full functioning as a human being.
Toward the end of his life, Maslow also introduced the term "plateau experiences." These are positive experiences that are of longer duration and lower intensity than peak experiences. Meditative states and quiet reverie are examples. He also made mention of "nadir experiences," the opposite of peak experiences. These are intensely negative experiences which turn around into positive experiences. This work on identifying and categorizing transpersonal experiences has been continued. Walsh and Vaughan (1993) and others have begun a systematic mapping of the their characteristics.
SELF-TRANSCENDENCE, states of consciousness in which the sense of self is expanded beyond the ordinary definitions and self-images of the individual personality. Self-transcendence refers to the direct experience of a fundamental connection, harmony, or unity with others and the world. The "self" which is transcended is the personality or ego-self, the collection of self-concepts, self-images, and roles which develops through one's interactions. Transpersonal approaches hold that this ego-self is not the same as one's true nature or essence and that self-transcendence opens one to the experience of this deeper nature.
The notion of self-transcendence is a key part of Maslow's thinking and the roots of transpersonal psychology. Toward the end of his career, Maslow's transpersonal interests led him to add a sixth level to his widely-known Hierarchy of Needs. This sixth level, a meta-need for self-transcendence and a motivation toward peak experiences, extends beyond the deficiency needs and the need for self-actualization. He found that such a need was present for some but not all self-actualizing persons. A sense of self-transcendence is a defining characteristic of mystical experiences.
OPTIMAL MENTAL HEALTH, beyond what is considered possible by other approaches to psychology. Mental health is usually seen as adequate coping with environmental demands and resolution of personal conflicts, but the view of transpersonal psychology also includes a fuller awareness, self-understanding, and self-fulfillment. Optimal mental health also includes the notion of serving others. Peak and plateau experiences are brief examples of optimal states of mental health, but expanded awareness, freedom from internal conflicts and deficiency, and authentic contact with others are possible as enduring traits also. Transpersonal psychology seeks to explore and validate states that have been termed enlightenment, awakening, or liberation by the spiritual disciplines (Walsh and Vaughan, 1993).
SPIRITUAL EMERGENCY, a disturbing experience resulting from a spiritual experience (or "emergence"). In general, transpersonal psychology holds the view that psychological crises can be part of a healthy awakening and that they are not always signs of psychopathology. Closely related to this is a view that the person is intrinsically healthy and that this health may manifest in ways that look pathological. Within the most pathological thinking and behavior is a core that is healthy. Transpersonal psychotherapy seeks to draw out and support this core.
A specific example of a transpersonal view of psychological crisis has been developed by Stan Grof, who has made other important contributions to transpersonal theory, and Christina Grof (Grof & Grof, 1989). They recognized that a transpersonal experience, or spiritual emergence, under certain conditions, may be so disturbing and unsettling that it feels more like a spiritual emergency with many characteristics of several psychopathology (see also Bragdon, 1987). Lukoff (1985) and others have shown that it is useful to differentiate "mystical experiences with psychotic features" (MEPF) from brief reactive psychosis and mania. Based in part on these studies, the new version of the Diagnostic and Statistical Manual (DSM-IV) contains the category of "Psychospiritual Problems" which include the notion of MEPF. The Grofs and others have developed guidelines for caring for someone in a spiritual emergency, recognizing both the person's immediate distress and the potential for profound growth. For those, such as the woman described at the beginning of this paper who have been misdiagnosed as having a psychotic breakdown when they were having a spiritual breakthrough, that distinction can make an enormous difference.
DEVELOPMENTAL SPECTRUM, a notion which incorporates many of the concepts of psychology and philosophy into a transpersonal framework. Philosophically, this model is an example of the Perennial Philosophy. This view suggests that there are levels of reality, from material to psychological/mental to spiritual and that each successive level incorporates the properties of previous levels along with new emergent properties. It has been the basis for most philosophical and spiritual systems as well as being found in virtually all psychological approaches (Wilber, 1993).
Psychologically, this model builds on various descriptions of developmental stages, such as those of Freud, Erikson, Piaget, Maslow, Loevinger, Kohlberg, and Gilligan. Psychological, cognitive, motor, social, and moral development proceeds through a predictable sequence of stages. Transpersonal Psychologists suggest those models are accurate as far as they go but that they usually stop short of a complete understanding. For instance, most psychological models consider the formation of a stable, integrated, and individuated ego to be the final stage of development. Transpersonal Psychology explores stages of personality development that extend beyond the individual ego into transpersonal realms. The Developmental Spectrum Model (e.g., Wilber, Engler, & Brown, 1987) distinguishes "Prepersonal" stages of development, prior to the development of a stable sense of self, "Personal" stages, wherein the development and refinement of an individual sense of self is achieved, and "Transpersonal" stages, based on identification with a whole that is larger than the individual ego. It is also noteworthy that, independent of Transpersonal Psychology, some developmental theorists such as Kohlberg and Erikson, are extending their models into transpersonal areas.
MEDITATION, practices for focusing or quieting mental processes and fostering transpersonal states. Just as conditioning is a key method in behaviorism and interpretation and catharsis are key methods in psychoanalysis, meditation is a key method for Transpersonal Psychology. Adapted from spiritual traditions in the East and the West, most forms of meditation involve either focused attention on one object (such as one's breath or a word repeated silently) or mindful attention to all contents of awareness. The specific techniques differ, but both forms of meditation have the ultimate goal of expanded awareness and self-transcendence. Self-transcendence, exploring the nature of the mind and identity, and expanding the sense of self have been the traditional uses of meditation and continue to be its primary value in a transpersonal framework. However, meditation is often used as a relaxation or psychotherapeutic technique as well. A great deal of empirical research has been published in recent years describing and validating various effects of meditation, both for self-regulation and expanding consciousness. Whether or not transpersonal systems include a formal meditation practice (and most do), training and working with moment-to-moment awareness is the one of the foundations of Transpersonal Psychology.see more:en.wikipedia.org/wiki/Transpersonal_psychologyen.wikipedia.org/wiki/Maslow's_hierarchy_of_needs www.abraham-maslow.com/m_motivation/Transpersonal_Psychology.asp
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Post by tannis on Mar 2, 2009 15:27:43 GMT
What a lovely afternoonOn Friday, I went down to the coast. The beach is mostly comprised of large chalk boulders and flint cobbles, flint seams, occasional patches of sand, and rock pools, as the tide was out. I beach combed over rock pools and star fish, and came to chalk boulders against white cliffs. As I stepped over the chalk boulders, I spied a beach ball lost amongst them. It was a Pink Plastic Disney Ball, and on one side I recognized Snow White. And, kicking the ball out of its crevice, I saw Ariel on the other side!! Imagine my mystical delight, having not long posted on Aerial, Ariel and Mary Magdalene. A wonderful sunsetThe sun was gloriously bright, like a Monstrance, and the Holy Chalice of golden light danced on the sea. A Communion! Again, I thought of the Aerial album cover. And as the sun began to set, I sat on some rocks to watch the sunset. The colors were splendid hues of greens, iridescent blues, purples, pinks and oranges. As I dwelt on the glorious sunsetting, I thought of the Byron Sunset poem I recently posted, and recited the first line, which I had remembered: 'The Moon is up, and yet it is not night' ...
The sun disappeared beneath distant clouds, giving them a dazzling fire-red gold lining, and making the cloudy horizon mountainous and Atlantisian. And when I looked about me, up into the blue sky strewn with purple clouds, I saw, unexpectedly, the new moon and the evening star brilliantly aglow. The Moon Is Up... and I laughed! And the new moon smiled back! And Venus-Aphrodite-Magdalene shone brilliantly. And all the birds were laughing... ;D
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Post by tannis on Mar 3, 2009 4:00:12 GMT
Venus Moon 2/27/2009www.youtube.com/watch?v=GV_MP7Ht3H4Ariel (angel) (Hebrew: Ari'el, Arael or Ariael) is an archangel found primarily in Judeo-Christian mysticism and Apocrypha. Generally presented as an authority over the Earth and its elements, Ariel has also been called an angel of healing, wrath & creation. The Hebrew name "Ariel" means literally "Altar" or "Lion of God", and occurs in the OT, e.g. Is 29,1-7, where it is used as a label for Jerusalem. "Ariel" has been called an ancient name for the leontomorphic Gnostic Demiurge (Creator God). Historically, the entity Ariel was often pictured in mysticism as a lion-headed deity or demon with power over the Earth, giving a strong foundation for Ariel's association with the Demiurge. It is possible that the name itself was even adopted from the Demiurge's Zoroastrian counterpart Ahriman (who is likely the predecessor of the Mithraic "Arimanius"). According to the German occultist Cornelius Agrippa: "Ariel is the name of an angel, sometimes also of a demon, and of a city, whence called Ariopolis, where the idol is worshipped." Ariel is often associated with the better known Judeo-Christian Archangel Uriel. The name "Auriel" is commonly used to denote the combined, However, Elizabethan court astrologer John Dee called "Ariel" a "conglomerate of Anael and Uriel."
Ariel is generally presented as an angel with authority over the elements, or else the Earth itself. In several occult writings, Ariel is mentioned with other elemental titles such as the "3rd archon of the winds," "spirit of air," "angel of the waters of the Earth" and "wielder of fire."
Ariel has been portrayed as a destructive spirit of retribution. In the Coptic Pistis Sophia, Ariel is in charge of punishment in the lower world, corresponding with Ur of the Mandeans. (Possibly due to Ariel's association with the Archangel Uriel who is often equated with Ur and said to serve the same role.) Ariel is usually depicted as a controller and punisher of demons or wicked spirits rather than a general retributive force. [Rf. The Testament of Solomon.]
Ariel has been claimed as a "guardian" spirit by several individuals, notably authors. Percy Shelley claimed to be protected by the angel, and often referred to himself as "Ariel."To a Lady, With a Guitar by Percy Bysshe Shelley (1792 - 1822)
Ariel to Miranda: -Take This slave of music, for the sake Of him who is the slave of thee; And teach it all the harmony In which thou canst, and only thou, Make the delighted spirit glow, Till joy denies itself again And, too intense, is turned to pain. For by permission and command Of thine own Prince Ferdinand, Poor Ariel sends this silent token Of more than ever can be spoken; Your guardian spirit, Ariel, who From life to life must still pursue Your happiness, for thus alone Can Ariel ever find his own. From Prospero's enchanted cell, As the mighty verses tell, To the throne of Naples he Lit you o'er the trackless sea, Flitting on, your prow before, Like a living meteor. When you die, the silent Moon In her interlunar swoon Is not sadder in her cell Than deserted Ariel. When you live again on earth, Like an unseen Star of birth Ariel guides you o'er the sea Of life from your nativity. Many changes have been run Since Ferdinand and you begun Your course of love, and Ariel still Has tracked your steps and served your will. Now in humbler, happier lot, This is all remembered not; And now, alas! the poor sprite is Imprisoned for some fault of his In a body like a grave - From you he only dares to crave, For his service and his sorrow, A smile today, a song tomorrow.
The artist who this idol wrought To echo all harmonious thought, Felled a tree, while on the steep The woods were in their winter sleep, Rocked in that repose divine On the wind-swept Apennine; And dreaming, some of Autumn past, And some of Spring approaching fast, And some of April buds and showers, And some of songs in July bowers, And all of love; and so this tree, - O that such our death may be! - Died in sleep, and felt no pain, To live in happier form again: From which, beneath Heaven's fairest star, The artist wrought this loved Guitar; And taught it justly to reply To all who question skilfully In language gentle as thine own; Whispering in enamoured tone Sweet oracles of woods and dells, And summer winds in sylvan cells; - For it had learnt all harmonies Of the plains and of the skies, Of the forests and the mountains, And the many-voiced fountains; The clearest echoes of the hills, The softest notes of falling rills, The melodies of birds and bees, The murmuring of summer seas, And pattering rain, and breathing dew, And airs of evening; and it knew That seldom-heard mysterious sound Which, driven on its diurnal round, As it floats through boundless day, Our world enkindles on its way: - All this it knows, but will not tell To those who cannot question well The Spirit that inhabits it; It talks according to the wit Of its companions; and no more Is heard than has been felt before By those who tempt it to betray These secrets of an elder day. But, sweetly as its answers will Flatter hands of perfect skill, It keeps its highest holiest tone For one beloved Friend alone.
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Post by tannis on Mar 17, 2009 2:27:15 GMT
EXT. NEIGHBORHOOD - DAY - SEMI-LONG SHOT Miss Torso, in ballet outfit, is hanging up a small wash on a clothes line. It consists mostly of lingerie. She is doing her inevitable leg practice at the same time. ~ Rear Window (Hitchcock, 1954; Final Draft, 1953)AERIAL and ARIEL The "rear window" Aerial 'Washing' Photography by John Carder Bush brings to mind Ariel Laundry powder, Hitchcock, and Mrs Bartolozzi washing her dirty linen in public.Ariel is a marketing line of laundry detergents made by Procter & Gamble. Ariel first appeared on the UK market circa 1968 and was the first detergent with stain-removing enzymes. It was a high-sudsing powder designed for twin-tub and top-loading washing machines. With the rise in popularity of automatic front-loading washing machines, a suitable low-suds variant was launched in the early 1970s. The mid-eighties saw the range expanding to encompass liquid detergent and compact powder. Ariel can often be found in the US in the super market's Hispanic ethnic food aisle.air one's dirty linen in public and wash one's dirty linen in public Fig. to discuss private or embarrassing matters in public.
Do not wash your dirty linen in public. Prov. Do not talk about your private family problems in public.
come out in the wash Fig. to work out all right. (Alludes to a clothing stain that can be removed by washing.) (informal) if something secret or unpleasant comes out in the wash, people discover the truth about it.
It'll all come out in the wash. Fig. It does not matter.; No lasting damage has been done. (informal) something that you say in order to tell someone not to worry because mistakes or problems will not have a serious or permanent effect.Rear Window trailer (Alfred Hitchcock)www.youtube.com/watch?v=NWDCkMt6sxc
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Post by tannis on Mar 20, 2009 20:00:35 GMT
"Aerial" is a two CD set. The first disc contains seven songs, some of which seems to be concerned with feelings, whilst others are absorbed with direct references to Kate's domestic life. When I first heard this album. I'm surprised at this apparent frankness, and I couldn't understand why an artist to seem so protective of her privacy present songs that seemed to put her deepest feelings up to public scrutiny. Wasn't there a contradiction in that? Kate: I don't think that is a contradiction. I think that in a lot of ways, it makes complete sense and it's not that I guard my privacy fiercely but I think the creative process is something that's very difficult to focus on. You have so many distractions there such an incredible amount of stuff that comes in to interfere with that process, you know, you got so many technical things interfering with doing a vocal for instance. I often think it's like an actor trying to get into their role and they can't have that take because the lighting was wrong... Mark: Yeah... Kate: Or they get a great take and then they've got to do it again because a bit of the set fell down. It's almost like hanging onto that creative intention is actually very difficult throughout all the distractions that come along and I think for me to get into that creative process, I have been a sort of quiet place that I work from. And if I was living the life of somebody in the industry as a pop star, whatever... it's too distracting. Its too to do with other people's perceptions of who you are and what's important me is to be a human being who has a soul, and who hopefully has a sense of who they are and not who everybody else thinks you are. And I think that's something that's very difficult for people who become extremely famous to hang on to just being a human being. BBC Radio 2, "Talking with Kate", August 5, 2006www.gaffaweb.org/reaching/iv06_bbc2_Mark_Radcliff_Talking_with_Kate.htmlSpin: In interviews, people always refer to you as this great perfectionist. Do you agree with that? Do you perceive yourself that way? KB: Well, if perfectionist means taking a long time, then I would agree with it. But I really don't think that it's possible to make things perfect, really. In some ways, there's almost an attempt to try to achieve something that is quite imperfect. Do you know what I mean? And to be able to find a way of leaving it with certain raw edges, so that the heart doesn't go out of it. I don't think of myself as a perfectionist at all. Spin magazine, Laura Dern interviews Kate, March, 1994 www.gaffaweb.org/reaching/i94_sp.html
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Post by tannis on Mar 21, 2009 2:27:24 GMT
Design by Kate and Peacock
Look at the light, all the time it’s a changing... In Pakistan’s Indus Valley a group of hunters still practice a 5,000-year-old method of catching waterfowl. Hunters tie pet herons to a hoop in the river, then drop to their necks in the water wearing masks made from real birds. “They'd wiggle their heads to mimic a swimming bird,” says Randy Olson. “Then grab any waterfowl that landed nearby.” Indus Civilization Photograph by Randy Olson The 'Aerial' booklet design features: drawings by Bertie; a Kate portrait by Trevor Leighton; "Lesson Time" by Frederic Cayley Robinson (1921) [cropped]; "Fishermen and Boat" by Joseph Edward Southall (1920) [cropped and mirror-reversed, and with AERIAL added to the side of the boat]; various photography by JCB; and 'Indus Bird Mask' photography by Randy Olson [altered image].The booklet brings to mind National Geographic and the Joni Mitchell gallery booklets, though Kate explains that the 'Aerial' format is a respectful nod to the great days of vinyl.KB: I suppose it's a bit silly, like the artwork with this record... was so important to me so, much more than previous artwork, which has always been important as well. Because I always see the bit like the cover of a book, do you know what I mean? I had this real, what I wanted to do was... I used to the love buying vinyl records. It was such a delight, because he had a big piece of artwork, a very physical object. Wasn't it delightful? We all loved buying records. I think in a way we've all been slightly robbed... when we go and buy a CD. Because you have this piece of plastic, it's much smaller. It's not a tactile object in the same way. I remember friends mine, their vinyl records were scarred with their love, do you know what I mean? They played it so many times, there were tracks that would just skip through, because they were just scratched so much. But in a way, that showed how much they loved it, do you know what I mean? And there was a real... I don't know... there is just something about vinyl records somehow has been lost. I think what I'm trying to say is I just wanted artwork for this to be really nice, to feel tactile again. So we took it out of a plastic box. And I try to make it a bit like a sort of like a book... almost like with nice pictures and a little story in the lyrics. So people feel they're getting something... that is almost an extension to the music. Radio France, C’est Lenoir, Hugo Cassavetti, November 11, 2005 www.gaffaweb.org/reaching/iv05_radio_france_interview.html
And she says she has no regrets about the image she helped create, though Aerial comes unadorned with large and ornate likenesses of her, and instead features realistic images of the ornaments of an ordinary village life — washing on the line, a view from the kitchen window, a placid seashore, pigeons in the yard. KB: "Graphics are important," she adds, by way of explaining the effort that went into designing the honeyed landscape artwork for Aerial. "This may sound pompous, but I'm uncomfortable working with the CD format. I used to work in vinyl, when the artwork was big, and said something significant about an artist. And I loved double albums. They indicated that the music was conceptual, too important to be reduced, and you could open up the covers and get lost in the pictures and information inside." The Toronto Star, "Lost and Found", Greg Quill, November 5, 2005www.gaffaweb.org/reaching/iv05ts01.html
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Post by tannis on Mar 21, 2009 17:27:33 GMT
Design by Kate and Peacock
Look at the light, all the time it’s a changing... Genesis 1:14 And God said, "Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, 15 and let them be lights in the expanse of the sky to give light on the earth." And it was so. 16 God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars. 17 God set them in the expanse of the sky to give light on the earth, 18 to govern the day and the night, and to separate light from darkness. And God saw that it was good. 19 And there was evening, and there was morning—the fourth day.POSING AS THE NIGHT: The 'Aerial' booklet features 'Indus Bird Mask' photography by Randy Olson. However, the photograph used is an altered image. Kate and Peacock have turned Day into Night! "Don't let the sunshine in"... "Peering from a decoy, a hunter lifts his head above the waters of the Indus River in Pakistan. Recent excavations reveal that in 3300 B.C. the Bronze Age village of Harappa was home to farmers, hunters, and fishermen. Within seven centuries Harappa rose to become one of at least five urban centers of the Indus civilization."
Indus: Clues to an Ancient Civilization National Geographic, Vol. 197, No. 6, JUNE 2000 Archaeologists unearth clues to ancient cities – long disappeared – that once flourished in the Indus Valley of Pakistan and northwestern India. Mohanis fishermen catch herons in the Indus River. They sneak up on unsuspecting birds by wearing headgear made from dead herons as a decoy. Birds are caught for food, as well as for sale and to be trained. National Geographic Photographer: Randy Olson Location: Indus River, Mohenjo-Daro, Pakistan. The Ancient Indus Valley New Perspectives (McIntosh, 2007): "Cranes are captured and kept as pets by the people of the Bannu Basin in modern Pakistan, and the representation of cranes on fourth-millennium pottery from this region, at Taraqai Qila and other sites, has been tentatively interpreted by Dr. Farid Khan (1991) as suggesting that the practice may also have taken place in ancient times, using the perforated stones found there as weights in a bola to capture the birds. This is an imaginative but not improbable suggestion" (p.130). This work is a revealing study of the enigmatic Indus civilization and how a rich repertoire of archaeological tools is being used to probe its puzzles. The Indus Valley gave rise to one of the most sophisticated civilizations of the Bronze Age, an extraordinarily peaceful society that developed everything from a complex political organization to sanitary plumbing to a rich mythology. Then it vanished, forgotten by history for centuries, until remarkable finds in the 1920s led to its rediscovery. "The Ancient Indus Valley: New Perspectives" takes readers back to a civilization as complex as its contemporaries in Mesopotamia and Egypt, one that covered a far larger region, yet lasted a much briefer time (less than a millennium) and left far fewer traces. Researchers have tentatively reconstructed a model of Indus life based on limited material remains and despite its virtually indecipherable written record. This volume describes what is known about the roots of Indus civilization in farming culture, as well as its far-flung trading network, sophisticated crafts and architecture, and surprisingly war-free way of life. Readers will get a glimpse of both a remarkable piece of the past and the extraordinary methods that have brought it back to life.Pakistan Information and History: Pakistan is in the northwest part of South Asia. The eastern and southern parts of the country are dominated by the Indus River and its tributaries. Most of Pakistan's population lives along the Indus. West of the Indus the land becomes increasingly arid and mountainous. To the north the land rises to the great mountains of the Hindu Kush and Karakoram—including K2, the world's second highest mountain after Everest, at 8,611 meters (28,250 feet).
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Post by tannis on Mar 23, 2009 15:27:27 GMT
The Art of the False FaceYou came out of the night, Wearing a mask in white colour...MACBETH: False face must hide what the false heart doth know.Kate entered showbiz wearing the mask of Catherine Earnshaw, and throughout her pop career she has worn masks and disguises. Babooshka, The Ran Tan Waltz, and Delius (swan headdress worn by KB and solar disc mask worn by PB) are obvious examples, but Lionheart and The Dreaming are full of theatrical performances and gender swapping identities. In GOOMH, KaTe even changes into a bird and a mule!On the Lionheart album cover Kate has taken off her Lion King mask and wears Comedy & Tragedy earrings; and on the Lionheart Tour Programme, an alien KaTe mask has its head in the clouds. Kate prefers shopping in second-hand shops to big stores. She has a weakness for earrings and collects them wherever she goes. One of her favourite pairs is in the shape of two miniature theatrical masks. Record Mirror, "Bushwhacked", Robin Smith, August 31, 1985www.gaffaweb.org/reaching/i85_rm1.htmlKaTe uses masks in the video for Sat In Your Lap; and the mask's theatrical cousin, the marionette, features in a televised performance of Suspended In Gaffa. I: This is your new song, is it? The search for knowledge [SIYL]. KB: (Hands headdress to a boy on her left, who studies it for a bit, figures out it goes on your head, and puts it on.) Seemed like a good idea to have some figures that epitomized looking for knowledge. And uh (pulls out one of the bull caps) this is a bull. And what Pammy did here...this was originally a cow's mask, and it was a very pretty cow, and it was pink, and had big eyelashes. And she managed to cut it down and completely changed it; she put these horns on, on top of what was there, and turned it into a bull. Incredible. "Razmatazz", July 14, 1981www.gaffaweb.org/reaching/iv81_raz.htmlFor the Hounds of Love video, KaTe wears the mask of a Hitchcock dame. And in the Running Up That Hill video the dancer struggles through a crowd of "Catherine 'Kate' Bush" masks, as if drowning in herself, symbolizing how we are forever trapped within our multiple personalities and social roles. Is it possible to make a deal with God -- a deal implying that the Man and the Woman in a relationship change places, change identities? The answer is of course no, and is first illustrated by an intense dance between Kate and a man. Then she leaves on her own, but wherever she walks she is met by her opposite -- people with her beloved's mask. She gets desperate and soon meets people wearing masks identical with her own. Humans may change identity, they might even look like her, but she herself cannot change with anyone. MusikDramatik, 1989, Ola Stenssonwww.gaffaweb.org/dreaming/hol_vid.html#ruthI: I like the masks, I liked the scenes with the masks. How did you think those up? KB: Well that was very much a coincidence, where the director was talking about these masks and I had a film on video that we'd taped that had a section where people were wearing these photographic masks. And we just felt that it was a really interesting idea, this crowd that would suddenly sorta rush in through the dance sequence. And the idea of the crowd being the force of either the man or the woman and so the faces change from the man to the woman. And then the idea of drowning in yourself. MTV, Unedited, November 1985www.gaffaweb.org/reaching/iv85_m1.htmlThe masks in RUTH might also suggest KaTe being lost among her imitators, or Kate fractured, alienated, and coming apart, as in a hall of distorting mirrors. Is Kate-the-performer struggling to get back to Kate-the-whole-story? Mirrors and masks also feature in TLTC&TC (1993), where the dancer struggles to shake off a mask and to return to her 'usual' self.More recently, the Aerial cover booklet features a Mohanis fisherman sneaking up on unsuspecting birds by wearing a mask made from a dead heron. This could be a subtle self-reference to the swan head-dress worn by KaTe in the Delius video, suggesting that Kate is as dark and predatory as the Mohanis noble savage. Indeed, the Aerial laughter suggests aggressiveness and fight for a territory, themes present in GOOMH. And in Aerial Tal, Kate 'changes' into a bird, recalling the line from The Dreaming's Get Out Of My House: "I turn into a bird, Carry further than the word is heard..." Peering from a decoy, a hunter lifts his head above the waters of the Indus River in Pakistan. Further, the Randy Olson photograph used in the Aerial booklet has been given the mask of the night by Kate and Peacock, recalling the undercover crime of Night Of The Swallow... Posing as the night..."With a hired plane, And no names mentioned. Tonight's the night of the flight. Before you know, I'll be over the water Like a swallow. There's no risk. I'll whisk them up in no moonlight. And though pigs can fly, They'll never find us Posing as the night, And I'm home before the morning."The Randy Olson photograph says a great deal about nature. And KT distorts the image with her own phantasmagoric shadows to create something even more surreal and...Wow! wow! wow! wow! wow! wow! unbelievable! Wow! wow! wow! wow! wow! wow! unbelievable!In How To Be Invisible, KaTe writes "under a veil you must never lift". So what is beneath her mask? To answer that question, one need only refer to the Never For Ever album cover...
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Post by tannis on Mar 28, 2009 16:27:14 GMT
...become panoramic
Patience Worth was allegedly a spirit contacted by Pearl Lenore Curran (February 15, 1883–1937). This symbiotic relationship produced several novels, poetry and prose which Pearl Curran claimed was delivered to her through channelling the spirit, Patience Worth. In the afternoons, while their husbands were at work, Pearl would often have tea with her mother and with a friend who lived nearby, a neighbor named Mrs. Hutchings. She believed that Ouija boards were a boring and silly pastime having seen the pointer spell out nothing but gibberish. Then, to the ladies surprise, the message on the board seemed to make sense. "Many moons ago I lived. Again I come. Patience Worth is my name," it spelled out.
Curran claimed she began to anticipate what the Ouija board was going to spell and by 1919 the pointer would just move aimlessly about the board. Curran described pictorial visions which accompany the coming of the words from Patience. She said "I am like a child with a magic picture book. Once I look upon it, all I have to do is to watch its pages open before me, and revel in their beauty and variety and novelty....When the poems come, there also appear before my eyes images of each successive symbol, as the words are given me....When the stories come, the scenes become panoramic, with the characters moving and acting their parts, even speaking in converse. The picture is not confined to the point narrated, but takes in everything else within the circle of vision at the time....If the people talk a foreign language, as in The Sorry Tale, I hear the talk, but over and above is the voice of Patience, either interpreting or giving me the part she wishes to use as story." Pearl Curran went on to describe her association with Patience Worth as "one of the most beautiful that can be the privilege of a human being to experience."
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