Thursday, July 28, 2011

When Facing Faces

By The JuanKurse
(Translated from the French version found here: http://www.soleildeminuit.magiqc.net/)

In various fields of occultism, there has always been a certain debate on what exactly it means to “see spirits” and how they are supposed to appear.  Although this debate can be approached from many angles, this essay will focus upon a particular visual aspect of “spirit” manifestations or apparitions, phenomena that is sometimes even acknowledged by those who systematically deny existence of any spirits at all: the appearance of faces in various settings.

It is generally recognized in the psychological sciences that the human brain has a very developed capacity to recognize human or anthropomorphic faces.  It has been demonstrated that this capacity is biologically and genetically preprogrammed within the human species.  Because of this mental faculty, the infant – as a reflex – shall smile to his parents even prior to his being conscious that there are other human beings with whom he can interrelate.  This capacity stays with him throughout his life and when he reaches adulthood, the individual will have achieved an outstanding ability to recognize, singularize or tell apart from other faces, and remember nearly every human or anthropomorphic face that he will see.

Of course, the human being – whether child or adult – doesn't only recognize faces on human beings for instance, he sees them on animals, in the intricate forms of tree bark, in the plushy shapes of clouds, in the shadowy mists of morning fog, in the vivacious flames of a campfire, in incense smoke, or even in the vague tenebrous silhouettes that fill the darkness when the sun has left us for the night.  These images are often vivid enough to leave us stunned or amazed... must we then conclude that these are the faces of “spirits” which have manifested amongst the living?

Many will explain the phenomena in this way: “these faces are in fact illusions created by the highly developed facial recognition capacities of the human brain.”  Hence the faces would be completely made up by a brain that doesn't tell the difference between a 'real' face – a human face – and a 'fake' face which is in fact nothing more than a random pattern which just happened to stimulate our visual cortex.  The face then only exists in mankind's imagination and therefore certainly not in nature. Facial identification is ascribed as the arbitrary reflex of a brain which automatically organizes visual information in order to perceive faces.  Therefore, when we see these “faces” in such incidental patterns of nature, we are left to conclude that our vivid human imagination deforms reality.  This reasoning is based on a very precise postulate: that there are no faces to see other than human faces.  For the purposes of this essay, we shall call this “pseudo-scientific dogma.”

Let us now adopt a skeptical stance, albeit more neutral.  We will not claim or disclaim the fact that there may or may not be faces in nature other than human.  Given this, we can now consider the possibility that there may, in fact, exist faces in other places than on human heads. We could then go on to say that, “our brain has a highly developed capacity for facial recognition, therefore, it would be possible to recognize faces elsewhere than on human heads, IF there are any to be found.”  By extension, could we not then deduce that WHEN there are faces to be found elsewhere, humans have the necessary ability to identify them?  Or even further: that when we identity these faces, we are efficiently using our biologically innate skill?  In other words: in having the capacity to identify faces, we identify them when they are made manifest to our senses.  Following this, the faces that we see in natural phenomena take on a whole new signification, much more profound and also more credible when it comes to their authenticity.  The authenticity of faces AS faces (rather than random geometrical patterns) is established by the authenticity of our capacity to recognize them.  Let us call this reasoning, “magical thinking.”

An analogy can be used to further demonstrate the argumentation.  The human being has a capacity to use formal reasoning to understand connections between events and discern the causal relationships between them.  The argument of “pseudo-scientific dogma” stated above will say that the capacity to make out connections between events can create logical illusions so we can therefore see causal connections where there are none.  “Pseudo-scientific dogma” will then have to use a postulate to differentiate a 'real' causal link and that which is not, because formal reason will be used equally in both 'real' and 'unreal' cases – just as the facial recognition capacity is used equally for facial recognition in ALL circumstances.  If then we turn to “magical thinking”, we will say that “in having the capacity to use formal reason to make connections between events, we CAN discern and identity causal relationships where they are, therefore we DO discern and identify them by this same capacity.”  An error would then be to not identify them when there are to be found.

Hence, the causal link that I wish to establish here is that, “a capacity to recognize faces, recognizes faces.”  In other words, the faces must be present a priori in order to be recognized by the human recognition capacity.  For example, it is this very capacity that can distinguish between a tree that has a face, and a tree that has no face.

To push our comparison further, we shall notice that “pseudo-scientific dogma” adduces an extraneous postulate which is then used as an anchor and objective measure in order to make a judgment that conforms to the postulate, yet being completely alien to both the observer and the observed phenomena.  On the other hand, “magical thinking” stems from direct subjective observation of phenomena.  Even though “pseudo-scientific dogma” might seem objective at first, each approach is equally as subjective as the other: the “pseudo-scientific dogma” is arbitrarily chosen (according to a given philosophical system or world-view); it falsely affirms itself as an objective truth on the grounds that the postulate is exteriorized from the observer: biased objectivity.  “Magical thinking”, on the other hand, recognizes and uses the subjectivity of the human condition without trying to remove itself from it: unbiased subjectivity becomes the axle of observation and understanding.

For this reason, this essay will dissociate itself from “pseudo-scientific dogma”, which blindly postulates the inexistence of non-human faces: we prefer to affirm what we see rather than deny it, as this approach seems more realistic – truer to our reality.  Furthermore, we claim that “pseudo-scientific dogma” attempts to define a reality and force the observer into self-denial and conformity, whereas “magical thinking” leaves the observer with the freedom and responsibility to discover reality according to the dispositions of his intrinsic human capacities.

In consideration of this, two fundamental questions pop up. First, “what is a face” and second, “why are there faces to be found all around nature in the first place?”

To the first question, considering that we are our own focal point, our spontaneous answer lies within circular reasoning: a face is what our facial recognition capacity recognizes!  It would be a lazy mistake stop there, however; it is important to know what we precisely recognize when we see a face – so this definition must be one of function rather than one of design so as to circumvent circular definitions.  Nonetheless, it is obvious that we distinguish precise geometrical forms, all the while being non-specific, namely two eyes a nose and a mouth on an enclosed area.  But these forms are perceived in essence and not in substance, as even when hideously disfigured or lacking important detail, the brain can still recognize them, although often accompanied by a feeling of disgust, of uneasiness or ugliness towards the malformed face.  Secondly, faces are recognized organically and not mechanically, meaning that the recognition of faces happens in the context of a living relationship between the face and the observer.  (Of course, the understanding of a relationship and the capacity to be in a relationship improves, matures and complexifies according to the age and the individual's level of personal development.)  In sum, a face is a perceptibly tangible witness in a relationship of recognition between a being and a symbol that is fundamental to humanity.

What, then, does the symbol represent ?  Invariably, it is an expression of life (not 'life' as in opposition to 'death', but 'life' in existential terms).  If faces are recognized, then it is for a reason that goes beyond their simple geometrical arrangement, hence according to their interactional and functional relationships with human existence (or, in short, their usefulness to the species).  Naturally, if this is true for human beings in relation to the faces of other human beings, then by extension it is also true for human beings in relation to other faces seen in nature, because nature is neither less living nor less essential for the survival of humanity than are the parents of the newborn infant who inevitably smiles when he or she recognizes a face that presents itself in his or her still limited eyesight.

The answer to the second fundamental question est now self-evident: faces exist in nature (or at least according to the relative human point of view – the only point of view to which we really have access) as witnesses of a life (or existence) to which we are inexorably dependent at the beginning of our lives and with which we are progressively interdependent throughout our lives as our individual autonomy increases.  As demonstrated above, this principle is then equally valid in both ontogenetic and phylogenetic contexts: faces are vital for the individual in relationships with his peers just as they are vital for the human species in its relationship with nature.

We can henceforth understand how shamans, magicians, druids and other sages of old – in their magical thinking – had logically deduced the “animism” of and in nature through their reasonable perceptual experience (rather than blind superstition).  As infants, each of us recognized faces – those of our parents – in order to interact with them and later, as adults, we are recognizing other faces beyond our own species.  This facial recognition that helped the infant interact with his parents probably also helped the adult interact with its natural environment throughout the history of mankind.  If, under a human face, we find a sentient being having its own intentionality, personality and spirituality, why not explore further when we identify a non-human face?  The least we can say is that the face offers a significant door which opens to exploration, communication and an opportunity to learn from and share with that or who can be found behind the mask.

Even today, in our society heavily dominated by pseudo-scientific dogmas – imposed realities and postulates – the innate human capacities keep sending us back to an instinctual transcendence of the momentary culture; yet the choice to listen to ourselves (or not) has always belonged to each and every one of us.  Will we deny that which is evident to our innate senses, which evolved into what they are through millions of years of perfectionment?  Or shall we more deeply explore the meanings and intersubjective relationships that life brings to our perceptions?  (Of course, the phenomena of faces is one example amongst many, as "magic" goes far beyond the scopes of what we can say about it.)

Dear Reader, you see a face: shall you ignore it or will you say hello?  If so, how?

Coil ::: The Ape of Naples


Just over a year after the tragic death of Jhonn Balance, Coil released their last ever studio album. Compiled from tracks recorded in the last few days before his death and from the Coil archive, The Ape of Naples consists of both new tracks and radical reworking of older tracks by Coil co-founder Peter "Sleazy" Christopherson himself. The cover includes a foldout insert with striking images and glossy artwork by Ian Johnstone - Balance's partner at the time of his death - and the lyrics to the tracks included on the album.

The Ape of Naples covers a range of stylistically different tracks originating from different eras of Coil's development, some already familiar (in different forms) to followers of their work. The album opens with "Fire of the Mind", a traditional folk type song with a death theme, as Balance's musings often do. "The Last Amethyst Deceiver" is another version of the already widely available "Amethyst Deceivers". This version has a more orchestral quality than previous versions but is not one of the strongest versions of this song, that honour falls to the electronic version regularly played live in recent years and available on the Live One thru Four series of CDs. "Tattooed Man" was released in its original form on the Selvaggina: Get Back In The Woods CD and was performed live at their last few shows. The track itself has a continental feel to it and features the `I love him, I hate him' lyrics that Balance delivered with such passion live.

The original version of "Triple Sun" was released on the ...And the Ambulance Died his Arms live album and has an undeniable beauty, the introduction providing a tense of air of expectation that opened some of their final shows. "It's In My Blood" and "Heaven's Blade" are reworked tracks from the unreleased Backwards album sessions at Trent Reznor's Nothing studios. The former is a nightmarish trip with a pounding mechanical throb and Balance wailing demonically while, of all the tracks on the album, "Heaven's Blade" seems more polished both musically and vocally, with an almost serene quality to the dark subject matter. "I Don't Get It" is one of the four completely new tracks and has a tense cinematic quality with Balance's electronically warped vocals inviting us further into the darkness. In contrast, there are intimate little glimpses of Balance the man, once asking Christopherson "Is that enough Sleaze?" and once in fits of laughter. Although each segment lasts only seconds they provide some comfort during a listening experience which draws closure on Balance's visionary qualities.

"Cold Cell" is another track that has been performed live a number of times with a harrowing video backdrop and was only previously released on 2000's The Wire Tapper 6 Special Edition compilation. This rework is musically atmospheric, vocally gentle and hymn-like, making "Cold Cell" both touching and evocative. "Teenage Lightning 2005" has also seen the light of day quite recently on 2004's Black Antlers studio CD and Selvaggina: Get Back In The Woods album. The original version dates back to 1991's Love's Secret Domain album and appears here in a completely reworked form. Maintaining a very tense building electronic atmosphere, "Teenage Lightning 2005" encourages the listener not to be afraid as "it's only lightning". As Balance's last full vocal track on The Ape of Naples, "Amber Rain" is a sombre yet strangely gentle journey accompanied by Balance's further musings on death and destiny.

"Going Up", the last song on the album, is sung by Francois Testory and features the words of the theme tune to classic British sitcom Are You Being Served? that was sung at Balance's funeral service. While this may seem an odd choice, "Going Up" is a truly beautiful and moving close to the final studio album of a legendary and visionary band known as Coil. The final words are softly spoken by Balance himself - "It just is."
>> igloomag.com <<

Tracklist:
1. "Fire Of The Mind" - 5:14
2. "The Last Amethyst Deceiver" - 10:11
3. "Tattooed Man" - 6:33
4. "Triple Sun" - 3:46
5. "It's In My Blood" - 4:51
6. "I Don't Get It" - 5:35
7. "Heaven's Blade" - 4:21
8. "Cold Cell" - 4:08
9. "Teenage Lightning 2005" - 7:11
10. "Amber Rain" - 5:12
11. "Going Up" - 8:30

Download:
https://mega.nz/#!VBhyTbyL!sDt5wGJgwpqf3rklMa0IZo9fxxCOqJOmU3YLIOTUNc4

Coil ::: Musick to Play in the Dark vol. 2


Volume 2 of Coil's 'moon' series is equally as brilliant as the first and continues the same trend set by volume 1.  This is a must-have!

Tracklist
1. Something
2. Tiny Golden Books
3. Ether
4. Paranoid Inlay
5. An Emergency
6. Where Are You?
7. Batwings (A Limnal Hymn)

Download :
https://mega.nz/#!RI5ihYbK!3W7WlWTKCbi_Vjx3Zun_pXgUq70kZqXb1skkdTUJfRA

Coil ::: Musick to Play in the Dark Vol. 1


It's hard to put the Coil experience into words. On the surface, it's just weird music, but underneath it all is deep symbolism, cosmic energy and some truely mind warping tones. John Balance and co. are definitely tuned into something on a much higher plane than the rest of us and MtPitD really illustrates this. One moment, the music is serene, peaceful and very relaxing. The next moment it's all torn away from you and the music takes a dark plunge, full of chaos. The first track, Are You Shivering, is quite chilling (not to make a bad pun), the sound penetrates you and chills the root of your being. Brocoli is another noteworthy track. I can't tell if this is some kind of strange joke. The lyrics don't give you a second to take it seriously. The music is a lot more structured than Coil had produced in the last few years and it's definitely welcome. You can tell a lot went into this recording and listening to it is a very rewarding experience.

Tracklist:
1. Are You Shivering?    
2. Red Birds Will Fly Out of the East and Destroy Paris in a Night    
3. Red Queen    
4. Broccoli    
5. Strange Birds    
6. The Dreamer Is Still Asleep
   
Download:
https://mega.nz/#!UVAmGBrI!9MvSY_z-UwYmbRy2CUgHQhSsjbu5ilTQ_7yvCCffMdg

Coil ::: Love's Secret Domain


Marking the period between the gothy industrial of the 80's and the spooky organic sounds of the band's latter days, the 1991 album Love's Secret Domain finds Coil following their muse into the realm of dance music, specifically the harsh tones of acid house and a certain hypnotic strain of techno, with the straight-ahead dance jams of "The Snow" and "Windowpane".

However it wouldn't be much of a Coil album without a bit of dissonant adventure, with tracks like "Chaostrophy" and "Titan Arch" filling that niche quite nicely, or neo-folk, here represented by three different versions of "Teenage Lightning" (1, 2 and "Lorca not Orca"), which would find itself again in yet different form on Coil's last album. Along with Horse Rotorvator, considered one of Coil's best albums.

Though Coil's John Balance and Peter Christopherson were inspired by the acid house revolution of the late '80s, their drug-inspired "dance" album isn't quite as indebted to the style as the contemporary work of Psychic TV. The influence comes through mostly in the deranged effects and vaguely surreal air, though several tracks do increase the rhythmic wattage. For the most part, the duo retained the gothic synth pop of Horse Rotorvator, but with a special emphasis on stuttered cut-and-paste sections rather than organic instruments and environmental sublimation. - Allmusic

Tracklist:
1 Disco Hospital
2 Teenage Lightning 1
3 Things Happen
4 The Snow
5 Dark River
6 Where Even The Darkness Is Something To See
7 Teenage Lightning 2
8 Windowpane
9 Further Back And Faster
10 Titan Arch
11 Chaostrophy
12 Lorca Not Orca
13 Love's Secret Domain

Preview:

   
Download:
https://mega.nz/#!dRJmHBCT!mv8_x9bv2mbHRYWeX5QsXMZOPzVr8Z4EuYVphNrw3Q4

Wednesday, July 27, 2011

Try to remember the kind of September….

A look Back at Crowley’s Rites of Eleusis
By Marc Magisana

In the month of September, back in 1910, in foggy London town, an announcement appeared in the primary ‘zine for British occultists, Occult Review, selling tickets for a happening to be held the following month. The ceremony/drama was to feature avant- garde music from a stringed instrument and a tom - tom, ecstatic dancing and chants, bizarre costumery, and free intoxicants.  Can it be wondered that the impresario of this proto-rock concert would come to be featured on the cover of the Beatles’ Sgt. Pepper album?

The orchestrator was of course, good ol’ Uncle Al and his merry band of acolytes featuring Leila Waddell on the fiddle and Victor Newburg as the dancing fool.  The event transpired in a hall over a period of seven days, each night was designated an astrological sign and a color (the audience was requested to don clothing of corresponding colors).  The notice was signed with only a letter “P” – I wonder if this is a source of influence for  Mr/Ms.. P. Orridge’s cognomen?

The purported purpose of this  magickal ceremony/drama par excellence
The Rites of Eleusis – was altering the consciousness of audience and participants.  An unexpected  magickal outcome was hooking up Crowley to the O.T.O. via yellow journalism and public trial.

The English upper classes had by this time become accustomed to hearing about séances and spiritualists in the papers but the Rites went beyond the pale and into the dark side. The scandal sheets were scandalized.  A reporter for the paper John Bull reported:

     “An arm was placed around my neck and a moustache pressed against my cheek…(there were) barbaric dances, sensational interludes of melodrama, blasphemy, and erotic suggestion.”
     A review in The Looking Glass described:

     “ A dimly lighted room, heavy with incense….a person with a red hood, supported on each side by a blue-chinned gentleman in a sort of Turkish bath costume, who commenced to read some gibberish to which attendants made responses at intervals…
     After awhile, a not unprepossessing lady appeared, informed them that she was the Mother of Heaven, and asked if she could do anything for them…”

It was a dialectical Victorian Poetry Slam with dear Laylah, Leila, Mother of Heaven and Scarlet Woman, she of the Maori descent, chronic halitosis, Solomonic tattoo, and long dark tresses, that was half of the inspiration for the Rites. 

As Crowley recounted to the newspaper The Bystander:
       “I happened to have a few friends in my room in the evening, among them LeilahWaddell.  It struck me that we might pass the time by a sort of artistic dialogue: I read a piece of poetry from one of the great classics, and she replied with a piece of music suggested by my reading.  I retorted with another poem; and the evening developed into a regular controversy…enthusiasm took hold of us; so acutely that we were all intensely uplifted to the point…of actual ecstasy”

Crowley neglected to mention in his report that the ingestion of organic hallucinogens by the partipants may have contributed to the ecstasies experienced.  At a rite in August a libation concocted thus: fruit juices, alcohol, peyote, and opiate (morphine or possibly heroin) was passed around the group while Leilah played free-form musick on her violin.  As one of the audience expressed “We were thrilled to our very bones.”  Indeed!
 
Part of the source material for the Rites was derived from some of Crowley’s more rubicund poetry, which owed much to Algernon Swinburne, Crowley’s chief  bardic influence.  The Swinburne style, with its emphasis on meter and rhyme and  sensual imagery(at the expense of clarity of meaning) was well-suited to the hypnotic effects the Rites intended to evoke. 

Rather like a  Hitchcock film, the purpose of the Rites was to produce a specific prearranged emotion in the audience.  Kenneth Anger and Saint Augustine have said  movies and plays are evil in how they manipulate our emotions and thoughts – but in  Crowley’s purpose –that manipulation could be a kind of evolutionary reprogramming of our neural circuits.  

It is of note, how often Crowley’s rites and rituals were intended as “experiments’ – the method is science, aim: religion.  This religious/scientific aspect of a theatrical event is simpatico w/ Antonin Artaud’s alchemical theater – what he called “the double” of a theatrical performance –rather like a string theory.  While the theaturgical event was experienced here, another theater was happening on another plane so to speak, and astrally transforming the audience.

Part of the fuel used to jettison the audience into the nether worlds, was music and in addition to the violin, it was decided to call upon the rhythms of the tom - tom, which, as one of Crowley’s associates claimed he had discovered by experiment, could result in proper English ladies relinquishing themselves to “shameless masturbation”.


The controversy stirred up by the Rites in London, included a piece in “The Looking Glass” stating that Crowley had engaged in homosexual acts with one of his hangers on, a Mr. G.C. Jones, who promptly sued for libel.  Many of Crowley’s enemies and detractors came out to testify at the trial, creating lots of publicity and Jones lost the case.

The positive aspect of it was this was the vehicle by which Crowley came to the notice of the O.T.O.  The rest is history.

Tuesday, July 26, 2011

Erzulie Possesses









































"Inevitably then - and this is a classic stage of Erzulie's possession - she begins to weep. Tenderly they would comfort her, bringing forward still another cake, another jewel, pledging still another promise. But it would seem that nothing in the world would ever, could ever, answer those tears. In their real reasonable world there is no grief like this...With her knees drawn up, the fists clenched, the jaw rigid and the tears streaming from her tight-shut eyes, she is the cosmic tantrum - the tantrum not of a spoiled child but of some cosmic innocence which cannot understand - and will not understand - why accident should ever befall what is cherished, or why death should ever come to the beloved." - Maya Deren