1181

(…) What do we think of when we hear the word “meaning ether?” Probably not nearly enough — myself included! — for it is difficult to grasp what the term “meaning” signifies here. With respect to the chemical ether we had to refer to the numerical laws and to the Harmony of the Spheres. To the meaning ether, however, belongs the general and great harmony of the universe (as Kepler has expressed it). It can help us yet further if we consider a word which was used by the profound translator of many works of Chinese literature, Richard Wilhelm. He has chosen to translate the word “tao,” as used in the “Tao te Ching,” (“Tao” is translated into English as “way.”) with the German word “Sinn” (sense, or meaning). He points out that it had something of the same meaning as did the Greek word “logos” at the turning point of time, the beginning of the Christian era. If you consult a Greek dictionary, you will find a long list of meanings for the term “logos” — word, speech, computation, relationship, reason, etc. The mathematicians of 400 B.C. used the word “logos” when they stated a ratio, as 3:4. And when in the time of Plato it was established that there was no “logos,” or integral proportionality, between the diagonal and the side of a square, that was called an “a-logon,” or something without logos. Translated into Latin, logos became “ratio,” and something without “ratio” (or proportion) was something “irrational.” The discovery of the irrational in the time of Plato consisted in the proof that “irrationality” exists in the world of measure. That gives a faint indication of the paradox inherent in the deepest “sense of the word ‘sense’.”

But now you must understand that the negative mirror image of a mastery of the world of meaning, of the logos, must appear in our time, and where this negative image appears it is today called “information.” The “Science of Information” can only measure the quantitative aspect of information, and not that which is its true meaning.

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On Nuclear Energy and the Occult Atom 

by Georg Unger, 1978 (online)

1180

many of the products of mankind — not only machines, but also cultural works (such as great works of art, ceremonial actions, and rituals) — attract elemental beings. “Out of the interaction between these creations of humanity and the elemental beings which live with man are formed the foundations of the kingdom of Future Jupiter. That, then, is comprised by the term the occult atom.”

(…) in that time in which the soul was not yet living in such substantiality (in the Polarean and Hyperborean times), the Spirit World, which is now our inner world, surrounded us as our outer environment; in the future, that which is now outer nature and that which is “constructed” by man will become our inner world. This again is a reference to one of the occult expressions connected with Freemasonry, and it was taken for granted that the listeners would understand what was meant. They knew that the old church builders constructed churches not for themselves, nor to bring their own names into the world, but rather for others. “It was the task of all secret brotherhoods to bring the spirit into the outer world.”

it was said in 1904: “We are approaching a time in which — as I have already indicated — comprehension can reach even as far as the atom. Even lay people will recognize that the atom is nothing other than coagulated electricity. Thought itself is of the same substance; even before the Fifth Cultural Epoch comes to an end, man will come so far that he will be capable of working right into the atom.”

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On Nuclear Energy and the Occult Atom 

by Georg Unger, 1978 (online)

1171 – The Electronic Doppelganger: The Mystery of the Double in the Age of the Internet (Book by Rudolf Steiner / Andreas Neider 1917 – 2016)

“Large temptations will emanate from these machine-animals, produced by people themselves, and it will be the task of a spiritual science that explores the cosmos to ensure all these temptations do not exert any damaging influence on human beings.” —Rudolf Steiner 
In an increasingly digitized world, where both work and play are more and more taking place online and via screens, Rudolf Steiner’s dramatic statements from 1917 appear prophetic. Speaking of “intelligent machines” that would appear in the future, Steiner presents a broad context that illustrates the multitude of challenges human beings will face. If humanity and the Earth are to continue to evolve together with the cosmos, and not be cut off from it entirely, we will need to work consciously and spiritually to create a counterweight to such phenomena.
In the lectures gathered here, edited with commentary and notes by Andreas Neider, Rudolf Steiner addresses a topic that he was never to speak of again–the secret of the geographical, or ahrimanic, Doppelganger. The human nervous system houses an entity that does not belong to its constitution, he states. This is an ahrimanic being that enters the body shortly before birth and leaves at death, providing the basis for all electrical currents needed to process and coordinate sensory perceptions and react to them.
Based on his spiritual research, Steiner discusses this Doppelganger, or double, in the wider context of historic occult events relating to spirits of darkness. Specific brotherhoods seek to keep such knowledge to themselves to exert power and spread materialism. But this knowledge is critical, says Steiner, if the geographical Doppelganger and its challenges are to be understood.

goodreads   /   amazon

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The Computer and the Incarnation of Ahriman

By David B. Black (online)

1132 – Upstream Color (2013)

“I love to be alone. / The sun is but a morning star. / The wildest sound ever
heard makes the woods ring far / and wide. / Faint tinkling sounds borne to my ear. / Their roots reaching quite under the house. / Fearing that they
would be light-headed. / For want of food and also sleep. / Prevailing blue mixed with yellow of the sand. / Sunshine is the color of the water. / I used to wonder at the halo /
of light around my shadow / And fancied myself one of the elect.”

Upstream Color is a 2013 American experimental science fiction film written, directed, produced, edited, composed, designed, cast by and starring Shane Carruth. The film is the second feature directed by Carruth, best known for his 2004 debut Primer. Upstream Color stars Amy Seimetz, Carruth, Andrew Sensenig, and Thiago Martins.

Upstream Color is about two people whose behaviors are affected by a complex parasite—without knowing it—that has a three-stage life cycle in which it passes from humans to pigs to orchids. (wiki)

themes   /   Walden   /   imdb

original soundtrack

1121

Bad Boys for Life (2020)

timespace coordinates: 2020 Miami

Bad Boys for Life is a 2020 American action comedy film directed by Adil El Arbi and Bilall Fallah. The sequel to Bad Boys II (2003), it is the third installment in the Bad Boys franchise.

imdb

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The Other Guys (2010)

timespace coordinates: late 2000’s New York City

The Other Guys is a 2010 American buddy cop action comedy film directed by Adam McKay. It stars Will Ferrell, Mark Wahlberg, Michael Keaton, Eva Mendes, Steve Coogan, Ray Stevenson, Samuel L. Jackson, and Dwayne Johnson.

imdb

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War on Everyone (2016)

timespace coordinates: 1990’s (?) Albuquerque, New Mexico / Iceland

War on Everyone is a 2016 British black comedy buddy cop film written and directed by John Michael McDonagh. The film stars Alexander Skarsgård, Michael Peña, and Theo James. (wiki)

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The philosopher Thomas Hobbes foretold a future “war of all against all” in his book “Leviathan“.

imdb   /   Review

1108

Sepultura – Arise [OFFICIAL VIDEO]

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Helloween “-Walls Of Jericho” full album   /   judas   /   guardians

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Obituary – The End Complete

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Megadeth – Train of Consequences

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Paradise Lost – Shades Of God (Full Album)

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Manowar – Battle Hymn

Holy War

The Crown and the Ring / Kingdom Come

Mountains

Guyana (Cult Of The Damned)

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“Achilles, Agony and Ecstasy in Eight Parts” is the longest (28 minutes and 38 seconds) and most complex Manowar song, and probably an anticipation of a concept album that was never accomplished. Because of its Homeric content, “Achilles, Agony and Ecstasy in Eight Parts” has recently attracted the attention of a group of scholars at Bologna University in Italy. Mrs. Eleonora Cavallini, Professor in Classics, has written about this song:

“Joey DeMaio’s lyrics imply a careful and scrupulous reading of the Iliad. The songwriter has focused his attention essentially on the crucial fight between Hector and Achilles, has paraphrased some passages of the poem adapting them to the melodic structure with a certain fluency and partly reinterpreting them, but never altering or upsetting Homer’s storyline. The purpose of the lyrics (and of the music as well) is to evoke some characteristic Homeric sceneries: the raging storm of the battle, the barbaric, ferocious exultance of the winner, the grief and anguish of the warrior who feels death impending over him. The whole action hinges upon Hector and Achilles, who are represented as specular characters, divided by an irreducible hatred and yet destined to share a similar destiny. Both are caught in the moment of the greatest exaltation, as they savagely rejoice for the blood of their killed enemies, but also in the one of the extreme pain, when the daemon of war finally pounces on them. Furthermore, differently than in the irreverent and iconoclastic movie Troy, in “Achilles, Agony and Ecstasy in Eight Parts”, the divine is a constant and ineluctable presence, determining human destinies with inscrutable and steely will, and, despite the generic reference to ‘the gods’, the real master of human lives is Zeus, the only God to whom both Hector and Achilles address their prayers

Spirit – Horse of The Cherokee   /   Master of the Wind

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The Rime of the Ancient Mariner Full Length

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1092

Homer used two adjectives to describe aspects of the colour blue: kuaneos, to denote a dark shade of blue merging into black; and glaukos, to describe a sort of ‘blue-grey’, notably used in Athena’s epithet glaukopis, her ‘grey-gleaming eyes’. He describes the sky as big, starry, or of iron or bronze (because of its solid fixity). The tints of a rough sea range from ‘whitish’ (polios) and ‘blue-grey’ (glaukos) to deep blue and almost black (kuaneos, melas). The sea in its calm expanse is said to be ‘pansy-like’ (ioeides), ‘wine-like’ (oinops), or purple (porphureos). But whether sea or sky, it is never just ‘blue’. In fact, within the entirety of Ancient Greek literature you cannot find a single pure blue sea or sky.

Yellow, too, seems strangely absent from the Greek lexicon. The simple word xanthos covers the most various shades of yellow, from the shining blond hair of the gods, to amber, to the reddish blaze of fire. Chloros, since it’s related to chloe (grass), suggests the colour green but can also itself convey a vivid yellow, like honey.

The Ancient Greek experience of colour does not seem to match our own. In a well-known aphorism, Friedrich Nietzsche captures the strangeness of the Greek colour vocabulary:

How differently the Greeks must have viewed their natural world, since their eyes were blind to blue and green, and they would see instead of the former a deeper brown, and yellow instead of the latter (and for instance they also would use the same word for the colour of dark hair, that of the corn-flower, and that of the southern sea; and again, they would employ exactly the same word for the colour of the greenest plants and of the human skin, of honey and of the yellow resins: so that their greatest painters reproduced the world they lived in only in black, white, red, and yellow).
[My translation]

How is this possible? Did the Greeks really see the colours of the world differently from the way we do?    read more:

The Sea Was Never Blue

By Maria Michela Sassi