Tuesday, 3 November 2009

Raisin Affairs

LON MILO DUQUETTE VISITS AUSTRALIA!!

The road to hell is paved with good intentions of maintaining my poor neglected blog. And indeed the road to Hell was explored (if not really trod) this weekend past. Arguably one of the foremost occultists writing and practising in the (Western) world today, Lon Milo Duquette, and one of my favourite occult writers, has just completed (or will after his lecture for the OTO and Masonic folks tonight) the Sydney leg of his first ever Australian tour. I had heard rumours of this tour for over a year, and dates finally manifested about four or five months ago. When I heard I cleared my diary and spared (almost) no expense.We had the following:

Thursday: Introduction to Enochian Magic
Friday: Spirits of the Tarot
Saturday: Introduction to Crowley's Thoth Tarot (day workshop)
Sunday: Qabalah: Zen of the West (day workshop)
Monday: Introduction to Solomonic Magick - Goetia.

As it happened I could only afford one of the day workshops, so I went with the Qabalah - the Tarot evening lecture was enough, and as I understand there wasn't a lot I wouldn't already know, or couldn't work out myself. However it sounded like it would have been pretty awesome - aparently he went through each of the Major Arcana and dissected their origins, and the imagery in each of the Thoth deck and their significance/s and all the things you don't notice. Apparently Justice is the Fool's wife! Sorry I missed it, but glad I could do all the others.

I'm gonna do a separate post for each of the workshops because their focus was quite different, even though many of the elements beld into eachother - unavoidable in Western occultism. My companions for the weekend were e:.C:.T:. Sorors L and V and Frater D, and a few other folks I know, or met there including a Gnostic priest who is the only other individual I've met who was loopy enough to construct a bodybuilding altar (gave me ideas for mine actually) and proposed we go into partnership (in the gym that is).

The whole weekend has really galvanised me, and in more ways than simply being charged with an electrical current. Duquette's approach to spiritual inquiry and the practical exploration of self, divinity and the universe is at once profoundly deep, and profoundly whimsical. Possibly my favourtie quote from the lectures was "The big magic is becoming Solomon, not doing the Magic [itself]" which reminded me so strongly of the e:.C:.T:. aphorism: "It is the work of the magician to change his mind." Duquettes special skill to is to make complex and daunting ideas straighforward and understandable (if not necessarily easy or simple).

So here is the story of my "adventure" this weekend, and it was an adventure, because as Lon says, every adventure makes you a different person, which I am now more keenly aware of than ever...

Wednesday, 9 September 2009

Raisin Affairs

Greetings, first post for a while! In short, I finally have a home net connection. The only minor problem is my coputer is slow as hell (constructed in the Dark Ages), but I'll be remeying that soon.

Meantime I can start producing some more consistent posts!

Tuesday, 28 July 2009

Beyond the Wall of Sleep

Further to my bizarre dream shouting "Zaka!" to a hurricane then clearing up after in the aftermath - finding bottles of oil...

It seems that ZAKA in Hebrew (Zayin-Qoph-Aleph = 108 = BABY HNChL (fruit of a deep valley) = ChMS (force, do wrong to) = ChQ (to measure out, a decree; tall) = ChTzY (the middle) = A'aZAL (a giant) ) is an Israeli humanitarian aid organisation (http://en.wikipedia.org/wiki/ZAKA) run largley by Orthodox Jews, whose motto is "Chesed shel Emet" - True Kindness. There is much more to this dream than I first thought. Especially considering the minor emphasis in the Qabalah on GRACE (ChN), which can very easily be related to the Sephiroth Chesed - Mercy, kindness, infinitely giving force - a word which ennumerates to the same as the word for "oil", which in this dream was literally "bestowed from above."

Preliminaries:

Chesed shel Emet

ChSD ShL AMT = 72 + 330 + 441 = 843
843 = RGLYM "that goes on foot" (makes sense - true kindness doesn't take the express train - suggests work involved - specifically footwork, humility, unembelished, simple - suggests journeying, travelling somewhere)

Notaricon: ChShA = 309
309 = MVSGR (a leper - fabulous, hmmm... ostracism, pariah, exclusion, Hermit? - long bow to draw...)
= ShDH (field, soil, land - i like it, I'm thinking true kindness, that salt of the earth kindness - it also suggests something of a prima materia; I mean soil full of potential, land free to be worked upon; could also refer to field as a wild field I wonder? should ask a Hebrew speaker about that, whether this field is a tilled field or a wild one)

ChSD (kindness, mercy) = 72 = AMAL (sorrow, toil, travail, trouble, wearinsome) = BSVD (in secret?) = A'aB (thickness, cloud) = VYKLV ("and they are excellent, finished")

ShL (by itself meaning "error") = 330 = MTzR (boundary, terminus, crosspath) = SA'aR (revolution, HURRICANE, tempest)

AMTh (truth, Temurah of ADAM via Aiq Bekar) = 441 = GChLTh (a live coal)

Further Research

According to another English Hebrew translation site Hurricane is translated as either:
1. SVPH (151)
2. SVPTh HVRYQN (546)
3. TVRNADV (276)

I'd favour the first as the second two are basically transliterations of the English words into Hebrew.

Olive Oil:
1. ShMN ZYTh (807)
2. YTzHR (305)

Wall:
1. KVThL
2. ChVMH
3. QYR
4. DVPN
5. ND
6. QVThL
7. ShVR ??


Debris:
1. ShPVKTh
2. MPVLTh
3. BLYTh
4. ChRBVTh ??
5. A'aYY MPVLTh
6. ShPK (f) A'aYYM (f)

Wreckage:
1. HRS
2. ShRYDY HThRSQVTh
3. ShBRY ANYH

Aftermath:
1. LKSh
2. ThVTzAH

I'm running out of time at work here so I'll have to come back to this fascinating anaysis. There's much more to Chesed shel Emet though, I'm sure. I want to put it through the wringer.

Thursday, 9 July 2009

In My Hyperbolic Opinion

"Decadence" by Steven Berkoff.
TAP Gallery, Sydney

The TAP Gallery, for those not versed in the independent theatre scene in Sydney, is a small theatre and art gallery in the trendy Darlinghurst area in the inner city. The gallery is spacious and a little bit funky. The theatre is tiny and a little bit hazardous (fire hazardous that is - long dark corridor to a small space full of electrical equipment with only one exit back down said corridor). But this is not the fault of the production in question. However what can undeniably be laid at the feet of Inner City Arts, who produced this abortion, is a show which matched a cast of actors with material much too big for them, terrible accents, atrocious use of Berkoff's rich language, and a near total lack of stylistic cohesion or storytelling.

Now I'm very willing and quick to encourage people with less experience or fledgling abilities to work hard and challenge themselves. But have a realistic sense of what is within your grasp. I'm not normally one to say anything actively nasty about an actor's ability, but just because you've done a million eistedfodds and spent years in private tuition doesn't mean you're necessarily any great talent or authority, just that a tutor was happy to take all that money off your hands. Two of the cast members were graduates of AADA, and I must admit they at least seemed to have some grasp of the theatrical, if a rudimentary one, and that's not taking into account the other major deficiencies of this production. The two males of the cast seemed to be suffering from some kind of neurological disorder for much of the play, their physicality completely dominating every aspect of their performance - possibly an attempt on their, or the director's part to complement the heightened language with heightened physicality - but the mistake there is that Berkoff's words do more than enough work in that department. Overt physicality just completely subverted the writer's linguistic ingenuity - like slapstick in a Noel Coward play.

With regards to the accents, I do have to insert the standard caveat that as an accent & dialect specialist I am overly sensitive to slip ups. However. These were not accents. They were abominations. Especially in the case of one female who, far from the Received Pronunciation she was attempting, appeared to be speaking a language all of her own. I couldn't discern whether her difficulty arose from English being a 2nd language (suggested by the "hip"-"heap"distinction being lost - Spanish? - and by the "cat" vowel being substituted for the "strut" vowel - Spanish or other Romance language possibilities) or from overcompensation from her own underlying dialect, such as American. Another possiblity which could account for the aforementioned phonetic discrepancies (the only consistent thing about the accent) was some kind of Asian language, owing to the rhythm. IN ANY CASE, I could barely understand th emajority of what she was saying. To her credit though, whether by accident or design (I'm inclined towards the former) she was the only actor who really engaged with Berkoff's dynamics and rhythms, and the only actor whose characterisation and physicality had any specificity - even if it was a little over the top (understatement).

Her scene partner very loudly mumbled his way through his lines, completely stripping the words of any story, while the other male was basically attempting an imitation of Berkoff himself (or perhaps Rain Man), while simultaneously trying unsuccessfully for the most part to erradicate his own distinctive speech patterns (sybillant /s/, nasality) - his outrageously overdone physicality also smacked of a desperate bid at overcompensation - a parody of machismo bereft of the threat the audience must percieve from that character. The other female was just all over the place vocally, a very general Cockney with startlingly Aussie sentences popping up. Her attitude was right, but damned if I could tell what she was on about.

Stylistically it leapt from attempted realism to surrealism to hyper-realism to absurdism from scene to scene, and occasionally from line to line. Certainly from actor to actor. Another way to put it could be that there were four actors in four different plays most of the time, and not one of them was telling any kind of story. A lot of the time I was completely lost as to the crux of the scene, and if there was plot (I'm sure there was) I couldn't see it, even from the glimmers which darted into view between the overly pregnant pauses and the hammy Mr Bean antics of the male actors. I couldn't help but hear my first-year acting teacher's old addage about "playing MOOD" - it is DOOM spelt backwards, and the general mood of this whole production certainly spelt doom for an entertaining night of theatre from the first few lines spoken on stage. What was lacking throughout was PURPOSE. Why are these characters here right now, and why is THIS the moment we are invited to watch? And WHY should we care or be interested?

And to add insult to injury, the show was two hours in length, with no interval. To be frank this can only display a lack of experience, or a lack of confidence. If the latter I could hardly blame them because I certainly would have left given any chance, but the space being such as it is, I was literally trapped in there wondering what would happen if a fire broke out in the gallery, and thinking about my car parked in a 1 hour zone, adamant that if I got a parking ticket, I was billing the company. Thankfully both parties were saved the trouble.

Upon reflection that's probably the harshest review I've ever written. But I stand by it. It really was one of the worst pieces of theatre I've been subjected to, rivalled only by "Desdemona" also in the TAP many years ago, and Lachlan Philpott's "Catapult" at the New Theatre, and "Whistle Down the Wind" in London. Honourable mention must go to Barrie Kosky's "King Lear" of about 10 years ago. I would have walked out if it hadn't been a school excursion.

Sinister Pincushions

Further to my last post, I've continued to have frequent and vivid dreams. Most of which I couldn't remember. One involved many people all walking around carrying bunches of key, usually gold or brass keys with some silver as well. Had another where a large girl dressed in black lace was being fed and asking for something called "mangalangas" which she had been promised - I've searched for what this may be but couldn't find anything.

The Country Gay is definitely moving out, and the Tall Doctor is moving in. This name comes from the fact that he is a PhD student, 26, and about a foot and a half taller than me. I'm bang on 6' and I was majorly looking up to him. I'm sure he's not really 7.5' but I'm not used to looking up to people so my perspective is skewed.

Another post to follow, reviewing an awful piece of theatre I was subject to last night.

Monday, 22 June 2009

Beyond the Wall of Sleep

EDIT: I'm leaving this post up for now as a reflection of where I was at the time, but DO NOT buy Kenaz Filan's books. He is a proven white supremacist with incredibly problematic and contradictory views to his works on African Diaspora Traditions. 


Aaaaaahhhh!!!!! (that's a scream, not a sigh)
I've been counting on the deadbeat Country Gay flatmate moving our of our house for months now. I've been searching (with no help at alll from my two other flatmates) for someone to take the room for all that time with no success. His moving out would mean that I could get the net hooked up to the house with a deal I could afford. As it is I'd be paying for it all by myself and that's just too much. I know I say this every sporadic post on here, but I'll have the net at home soon and start using this thing the way I intended to all along - hot men, occult insights, theatrical/filmic rants, and so forth. Also much less rambling (except in aforementioned rants).
I thought I'd pot on here mostly because I had an intense night of dreaming last night, and considering the renewed work with the Lwa I've been doing that's no surprise. I've also just finished reading Kenaz Filan's book so the Lwa are on my mind in more ways than one.
I'll get to the dreams in a sec, but just quickly, the book itself was very good for what it was. It's a beginners introduction to Vodou, what it is, what the major aspects to practising the religion are, who the major players are, and what you can do (and not do) to get started with serving the Mysteries.
It's always fascinating to me how different the approaches to Vodou can be from house to house, and Mambo/Houngan to Mambo/Houngan. As a non-initiate, and particularly as a white, western non-initiate, I'm natural;ly always looking to find the "best" way to do things, the most respectful and appropriate way to serve. For instance, the two MAmbo's I have worked with and several books I ahve read have always placed an enormous emphasis on the Ancestors. Before doing anything in Vodou you must honour your Ancestors. Filan's book certainly highlights the importance and value of Ancestral service, but it comes in the section relating to the Ghede and the dead, and is far from an emphasised aspect of the Vodou he presents. I'm not saying this is wrong or right, but it is very interesting to me. The value of this book is that he makes the religion and some of its more frequently served spirits very approachable. He doesn't mince words, but says "You can't do this or that without being initiated, so don't try it" or "I can't tell you this because of my oaths." This makes respect for Vodou and its protocols of primary importance, and while I'm sure it won't stop young readers from doing things because they are dangerous, it certainly isn't whitewashed. I know when I was first starting out I went straight to buy a gourd rattle and shook that thing all over the place because, being from a ceremonial background I wanted something to use like my dagger - something to "command!" But Filan makes the excellent point that the Lwa would not doubt see this as very disrespectful seeingas I have not undergone kanzo and Papa Loko has not given me the asson. Not that my cheap imitation could come near to it, but the action itself could be misconstrued as an upstart dressed in a borrowed police uniform (terrible analogy, but you get the idea). Worse still they could take the rattle as read and trreat you like an asogwe, and either become justifiably pissed off when you don't respond or behave accordingly, or go all out leaving you in a state you can't get yourself out of. Now I haven't used that thing for years, because after I attended my first Vodou service I just felt instinctively that it was not appropriate.
Another intriguing difference between my understanding and Filan's presentation is that he lists Kalfou (Carrefour) among the spirits you may wish to approach. Granted he does make Kalfou's extremely volatile and dangerous nature abundantly clear, but mentioning him in a beginners book does not accord with my understanding of just how dangerous he CAN be. Powerful, yes, effective, yes, but not if you can't control him. Again I'll say this has only been my understanding from what I have been taught/have read.
But Filan himself is at pains to demonstrate make the varied and changeable nature of Vodou from house to house and practitioner to practitioner. His book is an excellent introduction to the religion, and even gives advice on how to find a teacher (basically geared towards the United State, but hey, how many Haitian communities are there in Australia, etc?). I'm going to lend it to my bf, not so he can "convert" and begin practising with me, but so he understands more of what it is I do. Although being the Virgo that he is, I'm worried he may worry! Filan's book is quite clear about the potnetial dangerts of Vodou, which is why it is so appropriate. He makes it clear that you can't approach Legba like he's "just an aspect of Mercury" - the Lwa are distinct and separate being with complete personalities and likes and dislikes.
Now I have a three altars set up in my house (actually on my own balcony, but it has louvers I can close off. Not ideal, but not much else I can do): an ancestral altar, an all purpose one I only have some Rada spirits on (not having worked with/met any of the Petro nanchon), and one for the Ghede. I have been maintaining these as much as possible with my ridiculous schedule, as well as fulfilling obligations I have to certain spirits.
I had an intense dream last night involving a hurricane which rose up in a town where I lived. It rose by the water. There was a huge brick wall the height of a small office block. I called out to the tornado "Zaka!" (lwa of agriculture, farming, gossip... - I literally only just remembered this while typing) and the twister burst through this wall. I saw hundreds of thousands of objects spinning through the air, stirred up by the tornado.
The tornado disipated and the dream moved on to me walking through the wreckage along with many others, sifting through the debris. I was technically looting - finding things I could use and putting them in a bag. There were lots of things, but the only ones I remember were a few bottles of olive oil - one very green, and the other a more pale yellow colour. They were cold - with precipitation on them. Perhaps I picked up fruit and vegetables as well, perhaps a comb. I remember some sweet things too. I can't remember much more. The gathering of objects from the rgound and placing them in a bag is very Zaka (or Azacca) related, but a tornado? I'm not sure. Inasmuch as Zaka is linked to the world of farming, not nature per se I wonder that I refered to a tornado - an entirely natural force - as Zaka is intriguing.
There was a second portion to the dream which has faded now. I'm going to (re-)start a dream diary.
That's all for today (or is it....?)

Monday, 2 March 2009

Pumping Iron

So wow, I have a little bit of time to look on here and update briefly.

The Guy is now more of a boyfriend now, which is nice. He officially changed his relationship status on Biblio Faccio last night. Hilarious how significant this act has become. I haven't yet because the El Salavdorean has to be informed first, as does another guy or two. To simply change my status would be disrespectful, and The Guy understands that.

Most significantly, The Guy and I have trained together twice now. He is a bit proponent of High Intensity Training (HIT) and a fan of Mike Mentzer, and a huge fan of Dorian Yates. So his workouts are completely different in style to what I have done historically. I've been used to High Volume Training: usually doing about four or five exercises per bodypart, each with three to four sets on each. HIT basically involves exhausting the muscle through a series of 5-6 different exercises, each with only one working set, and doing warm-up sets early in the workout. There's a shitload more to it, which I'm still becoming au fait with, but the results and my experience of it has been extremely inspiring. I barely broke a sweat in the first session we did (delts and tris), but the muscles were so ridiculously exhausted, and very sore the following day. But a few days later I swear my shoulders looked bigger. No I know that's basically in my head, but it was bloody inspiring.

My old style was both aerobically exhausting as well as anerobically - the former sabotaging a lot of the latter. I was also overtraiing and sabotaging significant gains. I ate well so I wasn't feeling too much fatigue or any of the more serious symptoms of overtraining, but I wasn't really getting anywhere in terms of strength and size gains.

My back workout involved two warm up sets of bent over rows with a barbell, then a working set on a row apparatus I could load weights on. I added a few more reps on to that with rest-pause (finishing the working set, counting to 10, then cranking out one or two more - option to do a second round of that). Then did a warm up on lat pulldown, then a working set (plus rest-pause). Then a working set on bent over dumbell rows. Then a bicep cable curl to blast the arms I'd already been working in my back exercises (one warm-up, one working with rest-pause and static hold). All the time concentrating on the negative portion of the movement (lowering of the weight). In my chest workout I've taken to doing however many dips I can do to failure, then just stepping to the top and doing purely negatives (just lowering to the floor without pushing back up) until failure.

The Guy is going to lend me some of his books (one or two he won't lend because they're well-loved, and ocnstantly revisited - totally understand as a bibliophile). I'd really like to read more.