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Below are 20 journal entries, after skipping by the 20 most recent ones recorded in george dorn's LiveJournal:

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Thursday, August 6th, 2009
8:13 pm
Sunday, June 14th, 2009
9:12 am
it's funny when people misread RAW, the original anti-Da-Vinci-Code-style conspiracy theory writer, as "another da vinci code lecture." Helps to realize that RAW wrote Illuminatus! in the seventies, about the sixties, and there was no talk of da vinci codes at the time. He wrote several volumes (esp. the Cosmic Trigger trilogy) of informed and amusing conspiracy theory which had the overall effect not of convincing idiots and selling millions, but rather of demonstrating the absurdity, incoherence, and even incomprehensibility of sombunall conspiracy theorist belief. I'm sure he's laughing from beyond Chapel Perilous at the irony.

if you like Da Vinci code and and believe in the theories, this will provide much historical background and context, from the point of view of a very learned literary novelist and critic, as well as a scientifically-trained skeptic.

If you hate the Da Vinci code because it is based on shoddy history, this will provide much entertainment as he's basically laughing at the absurdity of the urgency with which people rush to interpretation of these murky historical mysteries, based as they are on so few details--however suggestive. RAW is hip to postmodern problems of interpretation and especially perceptual psychology, but is also generous in charitably interpreting conspiracy theories based on the power of the suggestions that weird historical facts can lead us to. It's a valuable study in human psychology, not just some conspiracy trip he's laying on you. don't believe a word he says cuz that's the last thing he'd want you to do.
8:46 am
about Lon Milo
DuQuette is an explanatory force as a post-Crowleyan interpreter of Tarot and "Solomonic" magic
. I'm fascinated by all the contradictions in his approach, which is delightfully tied up in the tension between the original practices and contemporary paradigms. He seems to genuinely want to respect the magical traditions he's selling although it's clear that he's willing to do whatever he pleases in appropriating them. His anachronistic and "Square" stance against the use of drugs
in ritual, for example, astounds the faithful reader of Crowley's biography. But generally he's a great resource for those interested in a superficial treatment of the logic and doctrine of postmodern "Magick"
Tuesday, March 31st, 2009
3:52 pm
Monday, March 30th, 2009
11:57 am
join a sheep club
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A World War I-era poster sponsored by the United States Department of Agriculture encouraging children to raise sheep to provide wool for the war effort. The poster reads, "Twenty sheep to clothe and equip each soldier / Boys and girls can help / Join a sheep club".


Current Mood: posting
Sunday, March 29th, 2009
3:04 pm
digest mostly renaissance magic stuff)
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crofton black article on ricius and christian kabbalah
nice big image of the pico/cusa/PD 3x3 cosmos diagram
found googling cosmic harmony images (kircher fludd etc)
last section of Iamblichus' On the Mysteries
Idries Shah and another guy on teaching stories
Ficino's De Mysteriis
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Iamblichus’ Defence of Theurgy: Some Reflections

from a book about Aldous Huxley To blow off steam, I like to compile fantasy bibliographies (academic sufi studies)
1:20 pm
explanatory note for paper
In the Oration on the Dignity of Man, when Pico talks about man's position as unfixed he is couching this freedom within Aristotelian concept of form, applied as Thomas does Neoplatonically to the Angelic Mind
1:10 pm
philosophical angle for my thesis
I want to explore the way Dionysius impacts the thinking of Pico, his methods of reasoning about philosophy and the angels, as well as the angelic content. thomas heped explain the Aristotelian Theology and original metaphyics of Dionysius. Iamblichus had recently been discovered, and Proclus already well studied by people like Cusa who demonstrated speculative, theoretical, analytical, logical values of late Neoplatonism. Pico followed Dionysian NP concepts of rationality as well as the scholastic ones in establishing his own original view of the angelic mind (reacting to arab and christian medievals). Good example is the idea in Dionysius that progressively simpler ideas are used to describe higher things, which has roots in Neoplatonic levels of cosmos and can be compared to Iamblichean need for appropriately material forms of worship (PD according to capacity in general as an explanatory principle picked up by Thomas and also used, although differently, by Pico)
12:55 pm
ars notoria and liber imaginibus...visionum links
have been getting interesting results looking at the ars notoria,
especially the really nice one with bold red lines I recently found.
I'm very interested in what those artists were doing with imaginal
space, and the more developed my visualization and concentration
skills get the more I can see in there. lately I've noticed how the
various circles being described seem to map out the filling of what
i'll call balloons of mythopoeic light. but that's just one poetic image
I use to refer to the kinds of events that I witness one a good skry.
I'm applying a lot of what I learned while looking at the Dobbshead
while listening to the illuminatus! trilogy under "wine and strange drugs"
(crowley reference as a metaphor not real life dabblying, grok?) but
trying not to let contemporary occult paradigms influence me too much
as a hermeneutic lens, just for getting started with some ritual power
and control of body and circuitry. my buddy took one look at some of
the goetic stuff I printed out and said "is it just me or is this obviously
some kind of medieval circuit design" which I think is a lovely way to
put it and that I should have said it myself. It's funny how they cross
a line between concrete and abstract by doing both semiotic and short-
hand type stuff, as well as imagic and ideographic art of memory ways
of dividing up and otherwise playing the space. Christopher Lehrich's
concept of analog signification in his book on Agrippa and Derrida might
be of help here, and I wonder about the cross-pollination of phenomenologies
of space with alchemist art like that of Maier and de Bry. anyway here's links:
ars notoria
latin ars memoria
12:45 pm
the invisible college is a metaphor, not a map model menu
I need to spend more time in the office of my angelic advisor
the tricky part is remembering how to find the door to the office
not supposed to wear perfumes or make myself tasty beforehand
Saturday, March 28th, 2009
5:00 am
stuff I want the notary art to help me "Get" (sigil gardening to replace vices with virtues)
more desire to cite Plato, Aristotle, as well as Proclus, Iamblichus and Dionysius, chapter and verse
get more thinking, and exercise, done during my walks and heady practices, and remember more
re-read all the stuff from renaissance magic text I have already mastered: Ficino, Reuchlin, Pico
to bring back up from the unconscious where it is being used wisely stuff i've seen but can't access
go beyond internal flash cards to make unexpected connections, arrange new diagrams and flow models
dismantle charlatanick models masquerading as metaphors: release energies and taxonomies binds learned
write the kinds of sentences I have had difficulty finding and evoking, even if thought police still looking
the will to go hiking, even in my boring backyard (with mt. tam and bay views) with or without mirror polish
get around to writing all those short opinion essays and blog type posts, staircase conversations
remember that I'm at the point where I can put a tremendous amount into a few huxleyan paragraphs
write more wilsonian, phildickian, borgesian, joycean, tomrobbinsian prose while living less kafkalike
orchestrate more puns, jokes, japes, pranks, and put-ons styling castaneda, kesey, malaclypse
write intelligent and polite letters of appreciation and professional good cheer to occultists, old heads
compile lists of all the textual moments I am grateful for, with documented contextual clues, car or tune
forget about the implications of the spaces between the spaces and focus non-attached on my now object

Current Mood: being here now
Sunday, June 22nd, 2008
11:06 pm
Art, Religion, Identity: Interdisciplinary Symposium 23-24 September
Art, Religion, Identity:
An interdisciplinary symposium
Hosted by
The University of Glasgow
Graduate School of Arts and Humanities
23-24 September 2008

Keynote Speakers:
Professor Melissa Raphael-Levine (University of Gloucestershire)
Professor Shulamit Reinharz (Brandeis University)
Dr. Laura Levitt (Temple University)

Call for Papers

In conjunction with an art exhibition at Glasgow University Chapel celebrating the 100th anniversary of the birth of Glasgow Jewish artist Hannah Frank, the Graduate School of Arts and Humanities and the Department of Theology and Religious Studies at the University of Glasgow will host a two-day symposium on art, religion, and identity. Questions about the role of identity in art abound, and these questions only increase when the artist is associated with a particular social group, be it religious, gendered, or ethnic, through their own self-presentation or the efforts of outside scholars or critics. To what extent does association with a social group influence the production of art? To what extent does an awareness of such associations influence the viewer’s experience of art?

We invite papers on any topic relating to the conference theme, with a focus on the 19th and 20th centuries, although we are open to proposals dealing with other periods. We welcome papers from any discipline, including but not limited to theology, art history, museum and archive studies, cultural studies, history, psychology, sociology, anthropology and literature.

Abstracts of 150-300 words, for papers not exceeding 20 minutes in length, or proposals for posters (A1 size) should be addressed to Julie Clague and Alana Vincent at art dot religion dot identity at googlemail dot com, no later than 20 July.

Topics may include, but are not limited to:

- Art as (auto)biography
- Borrowing and appropriation of imagery
- Contested (religious) identities
- Hermeneutics, textuality, and ‘reading’ images
- Intersections between mythology and religion in visual culture
- Imagination and the fantastic
- Material memory and culture making
- Theological and/or religious aesthetics
- Tensions, transgressions, heresies, and idolatries
- Religious uses of art: devotion, illustration, midrash, protest
- Artistic uses of religion: themes, symbolism, tradition, power
- Visual markers of religious identity
- Gender in relation to any of the above

A reception will be held in the Scottish Parliament on the evening of 23 September in honour of Hannah Frank and to launch a new book, "Hannah Frank, Footsteps on the Sands of Time: a 100th Birthday Celebration Gallimaufry" edited by Fiona Frank and Judith Coyle and published by the Scottish Jewish Archives Centre in association with Kennedy and Boyd.

Hannah Frank (b. 1908) studied at the University of Glasgow and the Glasgow School of Art. She produced her trademark black and white drawings from the age of 17 in 1925, and between 1927 and 1932 the GUM, the Glasgow University Magazine, rarely came out without a drawing by 'Al Aaraaf', her chosen pen name.

Hannah's haunting black and white drawings are resonant of the Art Nouveau period and with a hint of Aubrey Beardsley and Jessie King. She took up sculpture in the 1950s, studying with Benno Schotz; and her drawings and sculpture were exhibited in the Royal Glasgow Institute, the Royal Academy, and the Royal Scottish Academy, throughout her artistic career.

Further information will be made available on our website.

This event is supported by the Ben Uri Gallery: The London Jewish Museum of Art.

Please circulate widely.
3:01 am
crowley comment community
I just made this, haven't posted in it yet but invite you all to
Friday, June 20th, 2008
5:32 pm
Tuesday, June 3rd, 2008
1:22 am
Friday, December 28th, 2007
11:58 pm
11:56 pm
10:31 pm
10:08 pm
Wednesday, December 26th, 2007
11:44 pm
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