Sunday, March 29, 2009

Thought-forms...

Nonphysical entities which exist in either the mental or astral plane. Each entity is created from the thought. Every thought is said to generate vibrations in the aura's mental body, which assume a floating form and colors depending on the nature and intensity of the thought. These thought-forms are usually seen by clairvoyants; and may be intuitively sensed by others.

Theosophists and clairvoyants Annie Besant and C. W. Leadbeater placed thought-forms in three classifications: (1) the image of the thinker (see Bilocation); (2) an image of a material object associated with the thought; and (3) an independent image expressing the inherent qualities of the thought. Thoughts which are of a low nature, such as anger, hate, lust, greed, and so on, create thought-forms which are dense in color and form. Thought of a more spiritual nature tend to generate forms possessing a greater purity, clarity, and refinement.

Thought-forms can be directed toward anyone, but to be effective they must latch onto a similar vibration in the other person’s aura. If they are unable to do so, they can boomerang back on the sender. Thus, working according to the occult theory, one who directs evil toward another runs the risk of having it return.

The strength and clarity of the original thought determines the duration, strength and the distance of travel of its developed thought-form. It is said that thought-forms can have the capability to assume their own energy and appear to be intelligent and independent. Equally strong thought-forms can disperse them, or they may disintegrate when their purpose has been accomplished. Some may stay in existence for years, while others can become uncontrollable and turn on their senders.

Thought-forms, in magic, are also called "artificial elements," which are created through ritual involving intense concentration, repetition, and visualization. (see Egrigor) They can be directed toward individuals to protect or heal, or to harm. Also, thought-forms can be created to perform low-level tasks and errands.

Other thought-forms can occur spontaneously, for example, "Group minds" that emerge whenever a group of people concentrate on the same thought, ideas, or goals, such as a team of employees or a crowd of demonstrators. To a certain extent the group-mind possesses the group, such is seen in psychic bonding and power that coalesces in crowds, and in the synergy of a close-knit working group. Usually when the group disbands the power of the group-mind dissipates too. A.G.H.

An excerpt from

THOUGHT-FORMS

BY ANNIE BESANT
AND C.W. LEADBEATER

The text of this little book is the joint work of Mr Leadbeater and myself; some of it has already appeared as an article in Lucifer (now the Theosophical Review), but the greater part of it is new. The drawing and painting of the Thought-Forms observed by Mr Leadbeater or by myself, or by both of us together, has been done by three friends—Mr John Varley, Mr Prince, and Miss Macfarlane, to each of whom we tender our cordial thanks. To paint in earth's dull colours the forms clothed in the living light of other worlds is a hard and thankless task; so much the more gratitude is due to those who have attempted it. They needed coloured fire, and had only ground earths. We have also to thank Mr F. Bligh Bond for allowing us to use his essay on Vibration Figures, and some of his exquisite drawings. Another friend, who sent us some notes and a few drawings, insists on remaining anonymous, so we can only send our thanks to him with similar anonymity.

It is our earnest hope—as it is our belief—that this little book will serve as a striking moral lesson to every reader, making him realise the nature and power of his thoughts, acting as a stimulus to the noble, a curb on the base. With this belief and hope we send it on its way.
ANNIE BESANT.


illustrations of thought forms

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FIG. 11. RADIATING AFFECTION

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FIG. 39. IN THE SIX DIRECTIONS

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FIG. 12. PEACE AND PROTECTION

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FIG. 15. UPWARD RUSH OF DEVOTION

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FIG. 16. SELF-RENUNCIATION

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FIG. 37. SYMPATHY AND LOVE FOR ALL

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FIG. 38. AN ASPIRATION TO ENFOLD ALL

Thought Forms

Saturday, March 28, 2009

María Sabina: Mujer Espíritu



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Ah, Jesu Kri
I am a woman who shouts
I am a woman who whistles
I am a woman who lightnings, says
...
Woman who resounds
Woman torn up out of the ground
Woman who resounds
Woman torn up out of the ground
Woman of the principal berries, says
Woman of the sacred berries, says
...
Book woman
Book woman
Morning Star woman
Cross Star woman
God Star woman
...
Because I can swim in the immense
Because I can swim in all forms
Because I am the launch woman
Because I am the sacred opposum
Because I am the Lord opposum

I am the woman Book that is beneath the water, says
I am the woman of the populous town, says
I am the shepherdess who is beneath the water, says
I am the woman who shepherds the immense, says
I am a shepherdess and I come with my shepherd, says

Because everything has its origin
And I come going from place to place from the origin...


My space for Maria Sabina >>
www.myspace.com/mariasabinaamor

Tuesday, March 24, 2009

Henriette Hardenberg ...

from the German poet Henriette Hardenberg (Margarete Rosenberg) 1894-1993


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 An image of fear     


Evil pond surrounded by full lips
Angry ruby glass bursting off the bottom.
Secret tiger paths, sandy,
Drawn around golden almond flowers,
Labyrinth passages.
And hot rain pouring down
Among a spark dance of bodies.
Mangling through and through,
Sound from the top of the tower of need.



Spring

Birch-white leg,
Love landscape,
Hips,
Her flower balcony,
Tender and gone to seed,
Full fragrance of narcissus,
You, man
I love!


Hands

Like rare animals they move up and down
And lie deep at the bottom of the sea;
Moon-colored is the stone, like a wound
Set in flowering plumage.

I fear this hidden motion,
Like wind held up in branches;
So few fingers, in figures,
Will excite thoughts in me.

The sea divides so that I can reach it -
In swaying underbrush of crystal night -
This hand, extended flat yet softly sunk,
There before my pallid face.

I don't know whether the little bones,
Rinsed by the sea, will drift and mingle,
Or if, wrapped in clouds,
They will reach up for music and dance.

I know that dreams without fragrance,
Like dead fingers rigid in the joints,
Do not give shrouded magic
For which the living call in sleep.



White and red

Clouds tumble from the skies,
Impenetrable hedges of white roses grow,
The heart, of marble, lies slain.
Snow stars float
In whitewashed time space.

A human being, resurrected, screams,
Blood sprays from the fountains of the heart,
Roses burn in arms,
Dusk shed by a lamp brightens the tears.


Longing

The houses wished for the moon;
unable to stand the edges, the hardness any longer,
they had to bend.
I lay in my room and felt
how they were shaking with longing,
how sick they were, how they swayed.
And the moon came,
and my heart grew along with it,
and its loneliness grew.
The houses held on to each other tight that night.
I kissed the moon and cried.

Sunday, March 22, 2009

your mouth for a pillow...




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Unica Zürn...new line of vision...

A few scans from one of my favourite books

The House of Illnesses
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A remarkable illustrated text produced during one of the author’s stays in a mental institution.
After a childhood which she describes as “wonderful,” a 7 year marriage and the birth of her two children, a carreer at the Ufa film studios in her home town Berlin when she also began to write and paint, Unica Zürn’s life changed abruptly following a series of chance meetings with the painter Hans Bellmer in 1953. She left at once for Paris with Bellmer, who had already established himself in Surrealist circles there. He encouraged her to make automatic drawings and to write the anagram poems which later brought her much acclaim. Although the two lived together in growing isolation from their outside surroundings, Bellmer introduced Zürn to many of his contemporaries: Brauner, Arp, Man Ray, Ernst, Waldberg, and above all Henri Michaux. This meeting precipitated the mental illness that was to hound the last thirteen years of her life, Zürn believed him to be the incarnation of a childhood fantasy figure, which she described lated in The Man of Jasmine: “A few days later she experiences the first miracle in her life: in a room in Paris she finds herself standing before the Man of Jasmine. The shock of this encounter is so great that she is unable to overcome it. From this day on she begins, very very slowly, to lose her reason.”


The House of Illnesses was written shortly after this meeting, during a bout of fever induced by jaundice. It was originally included in the book The Man of Jasmine but without the illustrations which accompany it here. With its sometimes wistful, sometimes humourous and ultimately hopeful mood, this text contrasts strongly with many of the other texts in that book, which bear harrowing testimony to her mental crises and her dizzying descent into her own self and a world of hallucinated images.
above text from publishers of this book

...my drawings





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Friday, March 20, 2009

Untitled..my drawings





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Ghislaine de Menten de Horne...... La jeune Parque





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A little known Belgian artist Ghislaine de Menten de Horne and heroine of the Belgian Resistance, illustrations for an edition of La jeune Parque (The young Fate) published in 1935.
Spoken by a young woman, La jeune Parque is concerned with the battle between body and spirit; and between being and knowing.


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She was born Marie Cécile Armande Ghislaine de Menten de Horne, into anaristocratic Belgian family. She attended the Académie Julian, andstudied printmaking in the studio of the engraver Paul Bornet.Subsequently she continued her artistic studies at the Académie Royaledes Beaux Arts in Brussels.


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She first exhibited at the Salon des Indépendants in 1931. The thirtieswere marked by her friendships with the philosopher Marie-Anne Cochetand the writer Paul Valéry, and by her work on La jeune Parque and theunpublished Album de vers anciens. In 1942 she exhibited in the Toisond’Or and Breughel galleries in Brussels. Swept into the maelstrom ofWWII, her work with the Luc-Marc Resistance network and the romance ofher relationship with Max Londot, she did not exhibit again until 1966,with shows at the Mont des Arts and La Licorne in Brussels. Regular shows followed in her remaining years, mostly in various Brusselsgalleries, with a posthumous exhibition in the Veilingshuis“Vanderkindere” in 1996, the year after her death. Her artistic estatewas auctioned in aid of Médecins sans frontiers.


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Thursday, March 19, 2009

Walerian Borowczyk > Escargot de Venus(1975) & L'Amour monstre d tous les temps(1978) ...



Two short documentaries by Borowczyk, not as powerful as his surreal animations, but the subjects are well worth a look,
Escargot de Venus

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Featuring Bona Tibertelli De Pisis excellent erotic graphic works - wife of writer André Pieyre de Mandiargues ­ while working in her atelier, together with fragments of her graphic works inspired by one of Remy de Gourmont's writings.







L'Amour monstre d tous les temps

A portrait of Serbia's erotic surrealist painter Popovic Ljuba, with Richard Wagner's Tannhauser on the sound track.





after Hans Sebald Beham... my drawings



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another after Hans Sebald Beham



Wednesday, March 18, 2009

Kleksographien, Justinus Kerner and me...





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A comment by a friend on this drawing of mine, made me search for images of a favourite Justinus Kerner (1786-1862) a poet,physician and "Kleksograph" from Weinsberg, Germany.


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Here’s a portrait of Kerner with a portrait of Prince Adalbert of Bavaria hanging in the background, a close friend whom he had a comprehensive correspondance with, which dealt with topics such as clairvoyance, somnambulism and occultism, which i’d love to find! in the photo there is also a copy of the book "Kleksographien" (ink blots and their interpretation, the first recorded discussion) .


Kerner created his "Klesographien"  through the numerous blots on his letters and with wine :)

"In the beginning of the 20th century Hermann Rorschach adapted them to develop a projective test, which was named after him.Hermann Rorschach was a Swiss-born physician whose first and only manuscript
about this test, Psychodiagnostik, published in June 1921, described the
Rorschach procedure that he developed between 1909 and 1913 as a psychiatric
resident at Munsterlingen Mental Hospital in Russia. His procedure for exploring
perceptual and psychological processes was influenced by, among other
things, the Word Association Test that was developed by psychoanalyst Carl
Jung. In his early studies Rorschach compared the responses of psychotic patients
on Jung’s Association Test with those on the inkblot "test" and concluded
that the two tests were tapping somewhat different psychological processes.
Rorschach did not conceive of his technique as a "test" per se but as an empirically
based tool for differentiating the responses of varied groups, including
mentally retarded, schizophrenics, and other groups with known characteristics.
He believed that perceptual processes—how people organize and structure
what they see—are closely linked to aspects of the human psyche. Since the
major symptoms demonstrated by schizophrenics, the clinical population with
which he worked, involve disorders of thought and perception, it follows that
Rorschach would explore procedures to gain better insight into this disorder.
According to Ellenberger (1954), Rorschach saw himself first and foremost
as a scientist and was most interested in pursuing a career in clinical research,
not clinical practice. His development of the inkblot technique was
empirically based. So, it is of interest to note, that some of the strongest critics
of the Rorschach are those in academia and proponents of empirically
based diagnostic and treatment techniques who view the Rorschach technique
as not empirically based."

Anyway to get back to Justinus here some images from the above book,


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Ex libris... Austin Osman Spare



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Unica Zürn...





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A flower, for the spirit that keeps me burning. Paris, Pere Lachaise Cemetery, February 16th 2008.
Unica Zurn writer/artist 1916-1970


My space for Unica Zürn





new work...my drawings




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Labyrinth by Jan Lenica 1963 part 1&2











"I have always liked to move at the periphery of
Art, at the crossing of genres. ... I have enjoyed ... combining
elements which were seemingly distant, if not quite foreign, blurring
the borders between adjacent areas, transplanting noble qualities to
"lower" genres, in other words - quiet diversion" J Lenica.



Reveries Fantastiques ..Joseph Apoux





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Active 1880-1910 Especially renowned for his risqué and titillating etchings. His rather pornographic "alphabet" (circa 1880) is particularly noteworthy. Took part in the L'Exposition Internationale de Blanc et Noir in 1886.
This group of striking images dates to just before the turn of the century and is typical of the "fin de siecle" aesthetic preoccupations with sex, death and the bizarre.