More UNITED than we realize!
Mindmap, Hyperstories and Heiroglyphs - Schematizing the Mysteries
The following is an excerpt from my non-existent book "Cribnotes from the Invisible College: Please Don't Squeeze the Shaman".
The evolution of consciousness is often aided through ongoing efforts to "map the mind", or to attempt to understand the structure of consciousness and in some way reduce it to schematics that can be communicated with others, or used to strategize your own conscious unfolding.
Many initiatory systems will require the initiate to keep a magical journal or similar chronicle of notes and observations made while studying and working with higher aspects of consciousness. An excellent recounting of the practice of magickal journalizing can be found in Lon Milo DuQuette's "My Life With the Spirits". My own experience with this led me to an interesting discovery about
an important difference between modern language and the ancient "symbol-based" forms of communication. In particular, their respective utility for describing and mapping the psyche.
Most of the ancient cultures for whom enlightenment and the study of consciousness was the central focus of life used symbols, icons, metaphor and allegory to convey the mysterious secrets and "wiring schematics" of consciousness. The body of knowledge pertaining to consciousness and higher aspects of ourselves that these cultures accumulated and passed down are often referred to as "The Mysteries", and were closely guarded and highly prized by their respective cultures of origin.
Wether it be the Egyptian Heiroglyphs, the Hebrew alphabet, the dense symbol systems of alchemy, or the labyrinthine windows of the Tarot, the ancients used the language of symbolism and iconography to communicate the Mysteries. It is my contention that when language changed from the non-linear, hyper-dimensional web of hieroglyphics to our more modern linear language and narrative form, it lost an important part of it's ability to transmit the Mysteries, and to effectively map the hyper-dimensional, or holographic structure of consciousness.
I often think about a vine, when trying to visualize this or explain it to others, and how it resembles the mind. If left untended, and away from architecture or some other vertical thing to climb, it will spread out on the ground - along what animators and topologists call the "XY" axial plane - the plane that is made up of the x and y axis. The right - left and forward - backward axes. The ground plane.
At some point in human history, people began employing this remarkable invention called "the lattice", that made it possible for vines and other types of sprawling plant life to grow in a new direction - the z axis, the up-down axis, as suddenly the vine expands into, literally, a new dimension. The lattice allows the vine to stand up, to form higher structures, to get up off the ground and out of the way of dangerous pests and pedestrians. In a similar sense, language acts on the structure of our psyche very much the way the lattice enables the vine to expand into higher dimensions and assume 3d structures instead of being limited to two dimensions.
Our traditional forms of communication in the modern world are a linear stretch from point a to point b - a linear, sequential arrangement of data from "start" to "finish". (One might argue that non-linear scripts exist, like Tarrantino's "Pulp Fiction", where the timeline jumps from end to beginning to middle, but in my mind, this is still a linear narrative, just a jumbled one.) This is a very efficient structure, and a very common one, but it comes with some severe limitations when trying to describe events or processes that are not linear or one-dimensional. The psyche, our higher aspects, and the magical universe of invisible causes are all notable examples of phenomenon that are very difficult to accurately describe. Anything, really, that requires a flow-chart or branching schematic to describe it, rather than a linear narrative, is going to have to be significantly altered, or take up ALOT of time and redundant language to do it any justice using most modern forms of storytelling or narrative.
This is an odd thing for any normal person to be thinking about, but there is an organic reason why all of this became so interesting to me. My life as a public communicator began as a graphic designer in the medium of print, but soon evolved into creating motion graphics for television. For a good part of the 90's I designed motion graphics for the "On-Air Promo" department of one of the major networks, during which time I was constantly pressed to find new and better and quicker ways to make an impact on the viewing public, often only being able to use typography, color, and graphic design, and almost always being limited to an extremely rapid exposure time. (Most promo's and station id graphics breaks are very quick to make room for more advertising.) So like any craftsman who is looking for better ways to apply his craft, I spent as much time as I could studying unorthodox and clever ways to "download" more and more information visually in the smallest possible amount of time. The better I got at this, the more effective the promotions or advertisements or visualizations got. It was during this time that I began to study iconography and hieroglyphics and began to appreciate their clear superiority to linear language and typography.
After many years of enjoying the thrillride of high-stakes, mass-exposure, relentless deadline network life, I decided to take a sabbatical from that particular type of public communication, and spend some time on projects that felt a bit more socially substantial. Something that might in some way add to the collective IQ, rather than detract from it, as seems to have been the trend in the 90's, at least for the network I worked for... I went to Egypt and began to document the work of this strange and controversial group of Egyptologists, who were, in my opinion, forming the nucleus of a budding new counterculture. But more on that later.
It was in Egypt that I had my first exposure to the Mysteries. And to the ancient genius that integrated geometry, architecture, natural science, astronomy and even medicine, magick and psychology into the sacred temples and monoliths. The genius behind the secret wisdom traditions, that like the temples, demonstrated the perfect integration of form and function, of psyche, body and higher aspects of ourselves. And demonstrated a deeper secret - that the structure of the outer temple was a mirror of the structure of the inner temple.
It was in Egypt that I stumbled across the Central Mystery of Existence.
It was here that I connected with a story that, for me, is the most fascinating, most important, and above all most subversive story I have yet encountered. Also, as a storyteller, the most challenging to communicate, because its structure, like the temples that housed and transmitted the ancient story, was a hyper-dimensional story, and couldn't really be told properly in a linear format.
Like millions who came before me and experienced the gentle rip tide of Egypt, who could feel the centuries of magickal ritual still hanging in the air, and who were inspired by the titanic intellect that radiates from every structure and heiroglyph, and those rarer few, who were shown a glimpse of the deeper mysteries, I began to try to organize a story in my mind that might do justice to the subtle interlocking of theology and psychology and architecture and astronomy and symbolism that was the ancient mindset. As best I could, I began constructing traditional documentaries with my friend, mentor and general (often involuntary) mentor John Anthony West, which became the "Magical Egypt" series. (www.magicalegypt.com)
All the while, a bigger story, or a more holographic way to tell the story, kept trying to come out, but simply would not constrict itself to a linear narrative. So for several years, some of my favorite aspects of the Egyptian Mysteries have remained on a dusty shelf way up in the back of my head, waiting for the day that communication media would evolve into something capable of delivering such a hyper-structured, or linked, branching story. A hyperstory.
I became very fascinated with using hypermedia to create alternative ways of presenting a story. It was inspired by the non-linear "associative web" that heiroglyphs provide, in clear contrast to the linear narrative that is the norm nowdays. Also, as someone who had been set on fire by the parallel reality that is Egypt and the Egyptian Mysteries, I kept bumping my head on the limitations of traditional language to describe this eye-opening and paradigm-bending topic to others.
A common experience that the novice initiate and the seasoned mystic alike can have is the moment where one is trying to describe the meaning of a symbol, or discuss the mysteries in the abstract, and in order to do the story justice, you have to keep branching and sub-referencing, until the person you are talking to gives you "the look" that signals that they think you are insane.
This is why hieroglyphics were so much more appropriate for the transmission of the Mystery traditions, and why the internet is providing innovative storytellers with a new tool and the ability to tell a hyperstory, or a non-linear, branching story.
It sounds sort of crazy, granted, but if you think of it more like a piece of novel performance art - a sculpture made out of ideas that are connected by the viewer - the final shape of the sculpture varies each time as the viewer changes. Like a modern sculpture of gears and pistons that reconfigures each time a new onlooker approaches it.
But more than this, these "Idea sculptures" or "thought clusters" allow us to understand the true power and genius of heiroglyphic languages and of the mind itself.
In my opinion, this is what makes study of the ancient civilizations and symbol-based cultures so rewarding to those studying the higher aspects and abilities of human consciousness.
Hyperstories and Heiroglyphs
A heiroglyph is like a folder on your computer's desktop, it can potentially contain an unlimited amount of information about a certain subject. As Robert Bauval once told me, "It can contain the sum total experience of a human life, or contain the accumulated wisdom of an entire culture." But here's what I find most fascinating about heiroglyphs - individually they are icons that can represent a massive amount of nested information, but each heiroglyph can be combined into words and sentences that form long strings of ideas into higher forms - changing information into wisdom by not only imparting the information, but also the connections that give it reference and context and associations. Also, they allow the communication of MASSIVE amounts of information in much less space than longhand text. It is very much like being able to store a building the size of the Sears Tower in the space of a coin purse, and then being able to "chain" it together with the Empire State Building and the London Tower and keep them all in your pocket. Or in the space between your ears.
The interview with Robert Bauval can be seen in Magical Egypt ep#7. (www.magicalegypt.com)
[for more on this subject, click here: (http://www.robertbauval.co.uk/) or here: (http://video.google.com/videosearch?hl=en&q=robert+Bauval&u...)
In a similar way, I will be using this new narrative structure to chain a cluster of related movies together to create the "nodes" or "hubs" of a hyperstory. Although each experience and each viewing will be differently directed by each viewer, the common experience will be that a larger, usually unexpected epiphany, or "big-picture pattern" will emerge, and you will experience the information seem to snap together into sort of a "synaptic bundle" in your mind, giving you a deeper, more immersive and more memorable absorbancy of the information. You are not passively reading, you are collecting pieces and holding them in stasis until they suddenly "click" into a higher order. In this moment, the information has become wisdom.
The first installment of this hyperstory series is available in The Dark Room. click here for that: (http://www.thegreatnetwork.com/group/thedarkroom/forum/topics/welco...)
The goal of the mysteries was to eventually connect everything to everything else in the universe, so that ultimately, the synaptic map, or the structure of the psyche, was a mirror of the structure of the universe - a perfectly economical geometric structure referred to by the ancients as The Philosopher's Stone. This structure is also embodied in the sacred Temples of Egypt.
Another ancient representation of the underlaying structure of the universe and the optimal structure of consciousness is the famous "Tree of Life" from the Kabballah.
It is these powerful symbol systems - literally the bearers of meaning and the tentpoles of the psyche - that we study in our new series "The Great Work". Which itself was only really made possible thru a hybrid of the hyperlinking web and the DVD series, which is a linear narrative and "springboard" for the higher dimensions of this ancient story.
So in short, the use of the hyperstory technique allowed me to finally give a publishable form to the weird, hyperdimensional story of my introduction to the Mysteries. And it allowed me to do it while retaining an important part of the story that is lost when the knowledge is compressed to linear format, or filtered through the lens of modern misunderstanding.
A final note:
I dont expect anyone to have the exact same experience as me in exploring each hyperstory, as each us finds the various aspects of the mysteries, or facets of the Philosophers Stone, from their own unique direction. But I will present a cluster of ideas that are important to me, in fact of great importance to me, not just because of their individual gravity, but because of the meta-picture they paint. Each, it can be safely said, has a certain initiatory quality. Each in their own way reminds me of the line "Some knowledge is like fire. Causing a transformation from which there is no return.
The first hyperstory can be found in The Dark Room. (click here) (http://www.thegreatnetwork.com/group/thedarkroom/forum/topics/welco...)
The process of life is the process our creating our own hyperstories - our own cluster of associations, and our own unique way of structuring the "hubs" and "connectors" that we use to chart and schematize the visible and invisible universe.
I would be interested in hearing other experiences that involve personal tranformation through exposure to the symbol systems of the past.
The evolution of consciousness is often aided through ongoing efforts to "map the mind", or to attempt to understand the structure of consciousness and in some way reduce it to schematics that can be communicated with others, or used to strategize your own conscious unfolding.
Many initiatory systems will require the initiate to keep a magical journal or similar chronicle of notes and observations made while studying and working with higher aspects of consciousness. An excellent recounting of the practice of magickal journalizing can be found in Lon Milo DuQuette's "My Life With the Spirits". My own experience with this led me to an interesting discovery about
an important difference between modern language and the ancient "symbol-based" forms of communication. In particular, their respective utility for describing and mapping the psyche.
Most of the ancient cultures for whom enlightenment and the study of consciousness was the central focus of life used symbols, icons, metaphor and allegory to convey the mysterious secrets and "wiring schematics" of consciousness. The body of knowledge pertaining to consciousness and higher aspects of ourselves that these cultures accumulated and passed down are often referred to as "The Mysteries", and were closely guarded and highly prized by their respective cultures of origin.
Wether it be the Egyptian Heiroglyphs, the Hebrew alphabet, the dense symbol systems of alchemy, or the labyrinthine windows of the Tarot, the ancients used the language of symbolism and iconography to communicate the Mysteries. It is my contention that when language changed from the non-linear, hyper-dimensional web of hieroglyphics to our more modern linear language and narrative form, it lost an important part of it's ability to transmit the Mysteries, and to effectively map the hyper-dimensional, or holographic structure of consciousness.
I often think about a vine, when trying to visualize this or explain it to others, and how it resembles the mind. If left untended, and away from architecture or some other vertical thing to climb, it will spread out on the ground - along what animators and topologists call the "XY" axial plane - the plane that is made up of the x and y axis. The right - left and forward - backward axes. The ground plane.
At some point in human history, people began employing this remarkable invention called "the lattice", that made it possible for vines and other types of sprawling plant life to grow in a new direction - the z axis, the up-down axis, as suddenly the vine expands into, literally, a new dimension. The lattice allows the vine to stand up, to form higher structures, to get up off the ground and out of the way of dangerous pests and pedestrians. In a similar sense, language acts on the structure of our psyche very much the way the lattice enables the vine to expand into higher dimensions and assume 3d structures instead of being limited to two dimensions.
Our traditional forms of communication in the modern world are a linear stretch from point a to point b - a linear, sequential arrangement of data from "start" to "finish". (One might argue that non-linear scripts exist, like Tarrantino's "Pulp Fiction", where the timeline jumps from end to beginning to middle, but in my mind, this is still a linear narrative, just a jumbled one.) This is a very efficient structure, and a very common one, but it comes with some severe limitations when trying to describe events or processes that are not linear or one-dimensional. The psyche, our higher aspects, and the magical universe of invisible causes are all notable examples of phenomenon that are very difficult to accurately describe. Anything, really, that requires a flow-chart or branching schematic to describe it, rather than a linear narrative, is going to have to be significantly altered, or take up ALOT of time and redundant language to do it any justice using most modern forms of storytelling or narrative.
This is an odd thing for any normal person to be thinking about, but there is an organic reason why all of this became so interesting to me. My life as a public communicator began as a graphic designer in the medium of print, but soon evolved into creating motion graphics for television. For a good part of the 90's I designed motion graphics for the "On-Air Promo" department of one of the major networks, during which time I was constantly pressed to find new and better and quicker ways to make an impact on the viewing public, often only being able to use typography, color, and graphic design, and almost always being limited to an extremely rapid exposure time. (Most promo's and station id graphics breaks are very quick to make room for more advertising.) So like any craftsman who is looking for better ways to apply his craft, I spent as much time as I could studying unorthodox and clever ways to "download" more and more information visually in the smallest possible amount of time. The better I got at this, the more effective the promotions or advertisements or visualizations got. It was during this time that I began to study iconography and hieroglyphics and began to appreciate their clear superiority to linear language and typography.
After many years of enjoying the thrillride of high-stakes, mass-exposure, relentless deadline network life, I decided to take a sabbatical from that particular type of public communication, and spend some time on projects that felt a bit more socially substantial. Something that might in some way add to the collective IQ, rather than detract from it, as seems to have been the trend in the 90's, at least for the network I worked for... I went to Egypt and began to document the work of this strange and controversial group of Egyptologists, who were, in my opinion, forming the nucleus of a budding new counterculture. But more on that later.
It was in Egypt that I had my first exposure to the Mysteries. And to the ancient genius that integrated geometry, architecture, natural science, astronomy and even medicine, magick and psychology into the sacred temples and monoliths. The genius behind the secret wisdom traditions, that like the temples, demonstrated the perfect integration of form and function, of psyche, body and higher aspects of ourselves. And demonstrated a deeper secret - that the structure of the outer temple was a mirror of the structure of the inner temple.
It was in Egypt that I stumbled across the Central Mystery of Existence.
It was here that I connected with a story that, for me, is the most fascinating, most important, and above all most subversive story I have yet encountered. Also, as a storyteller, the most challenging to communicate, because its structure, like the temples that housed and transmitted the ancient story, was a hyper-dimensional story, and couldn't really be told properly in a linear format.
Like millions who came before me and experienced the gentle rip tide of Egypt, who could feel the centuries of magickal ritual still hanging in the air, and who were inspired by the titanic intellect that radiates from every structure and heiroglyph, and those rarer few, who were shown a glimpse of the deeper mysteries, I began to try to organize a story in my mind that might do justice to the subtle interlocking of theology and psychology and architecture and astronomy and symbolism that was the ancient mindset. As best I could, I began constructing traditional documentaries with my friend, mentor and general (often involuntary) mentor John Anthony West, which became the "Magical Egypt" series. (www.magicalegypt.com)
All the while, a bigger story, or a more holographic way to tell the story, kept trying to come out, but simply would not constrict itself to a linear narrative. So for several years, some of my favorite aspects of the Egyptian Mysteries have remained on a dusty shelf way up in the back of my head, waiting for the day that communication media would evolve into something capable of delivering such a hyper-structured, or linked, branching story. A hyperstory.
I became very fascinated with using hypermedia to create alternative ways of presenting a story. It was inspired by the non-linear "associative web" that heiroglyphs provide, in clear contrast to the linear narrative that is the norm nowdays. Also, as someone who had been set on fire by the parallel reality that is Egypt and the Egyptian Mysteries, I kept bumping my head on the limitations of traditional language to describe this eye-opening and paradigm-bending topic to others.
A common experience that the novice initiate and the seasoned mystic alike can have is the moment where one is trying to describe the meaning of a symbol, or discuss the mysteries in the abstract, and in order to do the story justice, you have to keep branching and sub-referencing, until the person you are talking to gives you "the look" that signals that they think you are insane.
This is why hieroglyphics were so much more appropriate for the transmission of the Mystery traditions, and why the internet is providing innovative storytellers with a new tool and the ability to tell a hyperstory, or a non-linear, branching story.
It sounds sort of crazy, granted, but if you think of it more like a piece of novel performance art - a sculpture made out of ideas that are connected by the viewer - the final shape of the sculpture varies each time as the viewer changes. Like a modern sculpture of gears and pistons that reconfigures each time a new onlooker approaches it.
But more than this, these "Idea sculptures" or "thought clusters" allow us to understand the true power and genius of heiroglyphic languages and of the mind itself.
In my opinion, this is what makes study of the ancient civilizations and symbol-based cultures so rewarding to those studying the higher aspects and abilities of human consciousness.
Hyperstories and Heiroglyphs
A heiroglyph is like a folder on your computer's desktop, it can potentially contain an unlimited amount of information about a certain subject. As Robert Bauval once told me, "It can contain the sum total experience of a human life, or contain the accumulated wisdom of an entire culture." But here's what I find most fascinating about heiroglyphs - individually they are icons that can represent a massive amount of nested information, but each heiroglyph can be combined into words and sentences that form long strings of ideas into higher forms - changing information into wisdom by not only imparting the information, but also the connections that give it reference and context and associations. Also, they allow the communication of MASSIVE amounts of information in much less space than longhand text. It is very much like being able to store a building the size of the Sears Tower in the space of a coin purse, and then being able to "chain" it together with the Empire State Building and the London Tower and keep them all in your pocket. Or in the space between your ears.
The interview with Robert Bauval can be seen in Magical Egypt ep#7. (www.magicalegypt.com)
[for more on this subject, click here: (http://www.robertbauval.co.uk/) or here: (http://video.google.com/videosearch?hl=en&q=robert+Bauval&u...)
In a similar way, I will be using this new narrative structure to chain a cluster of related movies together to create the "nodes" or "hubs" of a hyperstory. Although each experience and each viewing will be differently directed by each viewer, the common experience will be that a larger, usually unexpected epiphany, or "big-picture pattern" will emerge, and you will experience the information seem to snap together into sort of a "synaptic bundle" in your mind, giving you a deeper, more immersive and more memorable absorbancy of the information. You are not passively reading, you are collecting pieces and holding them in stasis until they suddenly "click" into a higher order. In this moment, the information has become wisdom.
The first installment of this hyperstory series is available in The Dark Room. click here for that: (http://www.thegreatnetwork.com/group/thedarkroom/forum/topics/welco...)
The goal of the mysteries was to eventually connect everything to everything else in the universe, so that ultimately, the synaptic map, or the structure of the psyche, was a mirror of the structure of the universe - a perfectly economical geometric structure referred to by the ancients as The Philosopher's Stone. This structure is also embodied in the sacred Temples of Egypt.
Another ancient representation of the underlaying structure of the universe and the optimal structure of consciousness is the famous "Tree of Life" from the Kabballah.
It is these powerful symbol systems - literally the bearers of meaning and the tentpoles of the psyche - that we study in our new series "The Great Work". Which itself was only really made possible thru a hybrid of the hyperlinking web and the DVD series, which is a linear narrative and "springboard" for the higher dimensions of this ancient story.
So in short, the use of the hyperstory technique allowed me to finally give a publishable form to the weird, hyperdimensional story of my introduction to the Mysteries. And it allowed me to do it while retaining an important part of the story that is lost when the knowledge is compressed to linear format, or filtered through the lens of modern misunderstanding.
A final note:
I dont expect anyone to have the exact same experience as me in exploring each hyperstory, as each us finds the various aspects of the mysteries, or facets of the Philosophers Stone, from their own unique direction. But I will present a cluster of ideas that are important to me, in fact of great importance to me, not just because of their individual gravity, but because of the meta-picture they paint. Each, it can be safely said, has a certain initiatory quality. Each in their own way reminds me of the line "Some knowledge is like fire. Causing a transformation from which there is no return.
The first hyperstory can be found in The Dark Room. (click here) (http://www.thegreatnetwork.com/group/thedarkroom/forum/topics/welco...)
The process of life is the process our creating our own hyperstories - our own cluster of associations, and our own unique way of structuring the "hubs" and "connectors" that we use to chart and schematize the visible and invisible universe.
I would be interested in hearing other experiences that involve personal tranformation through exposure to the symbol systems of the past.
Tags: hieroglyphs, johnanthonywest, kabballah, lonmiloduquette, magicalegypt, robertbauval, tarot
Replies to This Discussion
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Permalink Reply by Leanne on -
Hi...have you read Schwaller de Lubicz? He subscribed to a similar view of ancient Egyptian Hieroglyphics....I am really interested in the form of consciousness that is necessary in order to communicate on this level....i strongly suspect that it is a form of consciousness that is innately far more tuned in to the "God Within" and its "Voice". So i feel the object of this sort of development was not just to understand systems from the past (as wonderful as this is..) but also develop our long lost ability to tune into God in the present, in the now....and to do so requires a stepping beyond our current linear, objectifying consciousness..which has most definately put us out of synch with the Infinite. I feel like there is a modern push to strip humanity of these faculties (where the 'push' is coming from is open to debate) This ability is connected with Imagination and Creativity...all of which are slowly but surely being isolated and then excised from the human curriculum (i.e. a friend of mine recently, who is a school teacher, said that there was a huge debate in her primary school - they wanted to take creative writing out of the curriculum because they could not 'see the point to it". In other words, unless it has some sort of utilitarian value then it is denounced) Albert Einstein once said that Imagination is more important than knowledge...and William Blake wrote poems surrendering to Imagination......all of which points to the development of that non linear consciousness.....what will happen to humanity once we lose this faculty completely? I suspect it will be not be pleasant...
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Permalink Reply by chance gardner on -
Wow! Well said. Have you seen "The Golden Compass"? It was in theatres last year - probably out on DVD by now. It was an allegory wherein the "Ministry of Information" was stealing children in great numbers and systematically employing a machine on them that surgically separated them from their "spirit" animals, which in the movie was alegorical for their soul. Interesting that in every culture the forces that are behind the killing of imagination and freedom of thought and creativity name themselves the exact opposite of what their true role is. Like Zahi Haiwass calling himself the Minister of Antiquities, when his true title should be "The minister of keeping all the interesting stuff away from the public". Speaking of Egypt, I am of course a gigantic fan of Schwaller de Lubicz. My primary mentor in the Mysteries and in all things Egyptian is the infamous John Anthony West, who wrote the definitive book "Serpent in the Sky", wherein he introduced, or at least made more pallatable, the work of Schaller de Lubicz to the non-german speaking world.
Newt Gingrich (sp?) was largely responsible for removing funding for the arts in america, and our pal GW Bush dismantled the public education system, targeting especially any education relating to or nurturing of creativity and the cultural arts. I was in a bit of a quandry about who was really behind it all and why until I rewatched Zeitgeist, The Addendum recently and saw (seemingly for the first time) the bit about how the ONLY thing politicians are for is keeping change from happening. Keeping things the same. Financial interests and those in control politically and/or spiritually have a huge vested interest in preventing the precise thing that creativity and genius produces. Novelty, innovation and change.
Thanks for that awesome post! -
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Permalink Reply by Leanne on
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Hi Chance
Thanks for your great reply!! I have not seen the Golden Compass but i will check it out now given your feedback...The 'killing' of imagination and creativity is definately on the world wide agenda at the moment...it just does not make sense to me at all....our brains have a left side (logic, linear) and a right side (imagination, creativity)...so it stands to reason that in order to raise balanced human beings both sides of the brain need to be stimulated simultaneously. Instead the creativity/imagination aspect is being killed off....and even where it does exist (e.g. art or music classes in schools)...it has been compartmentalized/seperated from the rest of the curriculum. And when the knowledge aspects of the curriculum are presented (like maths, science) it tends to be presented in a totally unimaginative way. If we think back to the teachers that had the greatest impact upon us (often changing the course of our lives)..it was the ones that could combine the two....presenting linear information but in a way that was far more creative, inspiring, imaginative etc.. I know myself that it was these teachers that had huge impacts upon me... Imagine what will happen when we get the balance 'right' in our curriculum...we know now that we only use a certain proportion of the brain (is it ten percent?). I have a strong feeling that when we get both sides of the brain fired up we are going to be able to harness brain power like we have never seen before! I also think this connects somehow with the deepest aspects of spiritual knowledge..balance has always been the key..whether it is yin/yang (buddhism) or ida and pingala (hinduism) or luciferic and ahrimanic (anthroposophy)
As to Mr Haiwass...i have always had a 'beef' about him as well...but i mentioned this once to a friend who is a Rosicrucian and she was quite emphatic that he is connected with all of them.....and is definately giving the Rosy's information...but it seems the rest of the public (which includes you and me..) are left out in the cold. I am not sure whether this information made me feel better or worse...Probably annoyed me even more really (LOL) I can't quite see the point to all the secrecy anymore...the information needs to get out there to help people.
Mr Bush and our own John Howard have definately taken us backwards......which in itself does not surprise me ....what surprises me how the public so easily play into their hands and support that which is ultimately aimed at keeping them in spiritual slavery. I watched Zeitgeist some time ago and it was pretty much an eye opener! I really hope, though, that Barack Obama and our own Kevin Rudd will bring us back into some semblance of human balance....whether this is idealistic and naive i am not sure (particularly given the video revealing the down side to Obamo on this website)...i can only hope and pray that our faith in them both has some justification...At the end of the day, however, i believe it is up to all of us to reconnect with God within...and it is this...and not any political party......that will turn the tide for the better. Thanks once again for your great thoughts! -
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