Wednesday, July 06, 2011

Birds of a Feather and the Playthings of the 12/ Part 1

By Brian George

Pagan Moir wrote, “Now Zodiac means 'circle of living beings'—beings who live outside of time. Forget all the astrology—about Gemini the twins, Virgo the virgin, Aquarius the waterbearer—all those meanings are very new comparatively. We must let go of the signs as well; they have gone through the overlay of too many cultures. 

"Beings who live outside of time—so they dwell on the aetheric—I think they are groups; not just singular beings or symbolic archetypes, but very real groups. I also get the words 'tribe' and 'family' coming though. There are twelve of these groups, and each corresponds to one of the signs of the Zodiac.

"Ok, now to get to the crux of the matter, at least for me: these groups—and I think that I know three of the twelve—may be here to be of assistance to the members of their family who have somehow gotten stuck on the Earth. I think that the Zodiac was originally meant to be used as a kind of gateway; through with we could keep in contact with our group.

"The three groups that I have encountered are as follows:

1) The 'Felidae'—They are like big cats, and have a panther-like energy to them.

"2) The 'Draconni'—They have a dragon-like energy, but are white with blue eyes.

"3) The 'Wolverem'—The name speaks for itself; they are wolf-like, but their energy is golden.

"All of the energies have a humanoid aspect to them. They can morph into it. Brian, have you seen anything like this on your travels? I am most curious to compare notes with others.”
Just as every human may have one or more animal forms, so too every animal may have one or more humanoid forms. "Therianthropes,” or "man-animals,” are some of the oldest images in the history of art. They often appear on surfaces that are covered with zig-zags, arcane symbols, and geometric patterns—all indications of hallucinatory transport. In some cases these figures are clearly shamans, who have undergone a transformation. In other cases, they appear to be inter-dimensional beings—of some indeterminate anatomy, perhaps, whatever the masks they wear—who have chosen to appear in this particular hybrid form.

But why have these cosmonauts been transfixed by spears and arrows, sometimes by the dozen? And should we read these lines as acupuncture needles, placed within a network of meridians to heal, thus opening the cosmonaut to a flood of primordial energy? No, it is probably best to be practical; they are the technocratic probes of the Nephillim, whose doctors seek to reconstitute the genome.

One action is “good”; the other one is “bad.”

For the sake of convenience, let us refer to these many geographically diverse figures as a “type”; this hybrid humanoid is clearly moving between worlds—whether up or down or in both directions at once, who can tell?

We may pause to note that the cosmonaut has crash-landed on what appears to be a kind of 2-dimensional surface. His scarred eyes are a map of worlds. Ladders and concentric rings and spider webs tilt this way and that way through the vortex. Just whose side are we on? And yet some unknown agency has appointed us to judge. Even we—whose torsos throb with pain, who do not suspect what year it really is, and whose hands have transfixed the hybrid humanoid with probes. Let us simply refer to him as “The Wounded Man,” as so many scholars do. His dilemma is as clear as his expression is opaque.

Yet again, we have been attracted to the scene of a great crime, like “detached observers” to the scent of blood.

This realm of experience is by its nature paradoxical; not only are things not what they seem, but we are also not who or what we are.

I have sometimes thought that it should be the Gates of Heaven rather than the Gates of Hell that bear the inscription, “Abandon Hope, All You Who Enter Here.” For, however painful or ecstatic our initiation—and to me these are variant interpretations of one and the same process—we will not return to the same Earth that we left; we will not return the same.

(llustrations: Top: Brian George, Birdman with feather coming out of forehead, 2004, Bottom, "Wounded man" figure, San rock art.)

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