The way in which fan fiction operates may serve as a case study for understanding the way in which the klippot can function, specifically as the klippot of a specific operation that can take place under the auspices of the sefirot Yesod. Let me see if I can walk you through my reasoning.
I’ve had them on my mind most of the week, since completing the geomancy page on the relationship to the tree of life diagrams, because I had to gesture to them there. I knew there was more to discuss, but I didn’t quite have the conceptual apparatus hooked up to the experiential apparatus, so I put it on the back burner. I can’t recommend that enough, really. Once you have taken some time to elaborate an important bit of work, step back and let the release of it open up the next step in the work to be discussed.
Continuing the longer responses to some of the questions Iago posed, I want to talk a little more about Yesod as it came up in the discussion. One of the things I feel that I need to do before I start into some of the specific elements under discussion, though, is clarify a little about how my Kabbalism differs from Crowley’s. Don’t take these as gospel; they are just my efforts to make sense of my work.
I keep turning over the relationship between force and culture over in my head. It’s an old concern for me, and Gordon’s recent post about the potential failures of multiculturalism as a conceptual apparatus for dealing with the lived reality of cultural diversity has helped catalyze a few insights out of the churn.
Lately, the basic nature of our perceptual apparatus as been on my mind. I keep thinking about how, generally, we see very little of what is actually in front of us, relying instead on our sophisticated sensory apparatus to fill in all the details we are not in fact attending to. I want to focus on the eyes for a moment.
This post has been kicking around my drafts folder for a little bit. It doesn’t seem mediocre enough to trash, so I’ll share for the heck of it; it kind of fits with the lunar kick that I have been on for a few.
Lately I have had faeries on the brain. I have been curious after the sluagh, looking a little into their mythology. R. J. Stewart has found his way back into the house thanks to my partner. In a Stewart-ian vein, I also stumbled across this interesting piece by his friend, Dolores Ashcroft-Nowicki (she gives Stewart a well-deserved shout out within it). What follows is very notebooky.
Looking at the last post, I realize there is a fairly substantial element of the discussion missing. Part of my enthusiasm for the Yeatsian phases of the moon has to do with part of my peculiar take on geomancy. Since it is peculiar, it probably won’t make sense to someone living outside of my head. So, let me share some of my thoughts on the matter to fill in that gap.
When Ibn al’Arabi talks about the imagination, he places it in the category of things that makes us a proper image of the divine. When we engage our imagination fully, we imitate the creative act through which God created the world. This mirroring is one of the reasons that we can even begin to make sense of what would otherwise be the utter ineffability of God, though it is also the source of a lot of our misunderstandings, too. Our imagination is concrete and specific, motivated by, and concerned with, other concrete and specific things. God’s creative power is total, which is something we don’t have the chops to grasp.
I have been contemplating that sense I have that the ‘ideal’ tree of life is mostly a ghost or hologram of other trees, except for its middle pillar. That pillar is dominated by Tifaret and Yesod, sefirot linked to the Sun and Moon, respectively. Here I want to explore how the use of these prominent heavenly objects to symbolize Tifaret and Yesod provide an illuatration of how these spiritual forces operate within the unfolding pattern of creation.