Thursday, January 24, 2019

2011 - Chokmah - Cowboys and Aliens

I woke up in the desert, like I had been dropped out of the sky.

Jake Lonergan, Cowboys and Aliens

Before we can begin the next analysis I just want to say that taking inspiration from the Qabalah in this way is not a new thing; two of my favourite writers, Fernando Pessoa and Borges both took inspiration from the Hermetic Qabalah. When it comes to writing or production design for my theatre shows I do exactly the same thing I am describing in these posts.  Many other Hollywood film makers have used the Qabalah in the past and there is nothing automatically sinister about Christopher Nolan choosing to use the Qabalah to provide an artistic structure for his films.  What is interesting about this theory, if it is correct, is the way in which this particular ''on-the-nose'' painting by numbers colour approach seems to have rapidly and systematically spread through all major studios over the last decade  - does Nolan have a role in orchestrating it and why would anyone want to orchestrate it in the first place? 

While I am not discounting the more conspiratorial rationales for why an occult global ritual is taking place in film, fashion, etc, I do think that if I was one of the group of major producers making all this work actually happen then a simple colour-semiotic system could be really attractive just on organisational grounds.  Think about it - to make the most money out of product placement and the influence that a film generates then you would want all these major/supporting industries and agencies to be singing from the same hymn sheet, wouldn't you?

Anyway in 2011, the ''Year of Chokmah'', Grey was the dominant colour choice in rolling out this Unifying Colour System.  There are a number of films that are definitely worth investigating from perusing the trailers - The Tree of Life (obviously), J. Edgar, The Girl with the Dragon Tattoo, Source Code, In Time - but I wanted to give myself a little bit of a challenge so I decided to do ''Cowboys and Aliens''.  We'll work with the same system as last time, you can peruse the list, then images from the film and then I'll summarise with a short essay.

  • TITLE - Chokmah, Wisdom - God found wisdom and gave her to Israel (Jacob)
  • COLOUR - Grey
  • WORLD - Atziluth (Fire)
  • MAGICAL IMAGE - A bearded male figure
  • OTHER TITLES - The Supernal Father, Primordial Force, Reshit (Beginning)
  • GOD NAME - Jehovah
  • ARCHANGEL - Raziel, Secrets of God, Herald of God
  • ANGELS - Ophanim (Wheels)
  • MUNDANE CHAKRA - Mazloth (Zodiac i.e. the Stars)
  • SPIRITUAL EXPERIENCE - The face to face vision of God
  • VIRTUE -  Devotion
  • SYMBOLS - Phallus, Inner Robe of Glory, Standing stone, Tower










Jake Lonergan (Jacob) is a man of secrets (Raziel).  Having been abducted by aliens (Jacob's Ladder), Jake returns to the town just before they attack (Herald of God).  Encountering the Dolarhyde son first, Jacob finally confronts the patriach - Woodrow (Grey father in grey) - and Ella (Shekinah - presence of Wisdom on Earth).  After the aliens/demons begin to assault the town and abduct people in their uniquely designed craft (Ladders) the unknown device on his wrist activates and generates a powerful laser beam (Force) which destroys the alien ship.  A posse is quickly formed and they set out in pursuit of the aliens.  During the journey Ella is killed and then placed on a fire by Native Americans, this causes a miraculous resurrection out of the flames (inner robe of glory).  We also discover some of Jacob's secret (Raziel) background i.e. that he was once the leader of a group of bandits, but his experiences have led him to shun his evil ways.  The final sequence of the film involves an assault on the alien base (tower) where they mine or rather liquefy and extract the gold (it is better to have wisdom than gold).  The base is revealed to be a space ship which then launches into the sky before Ella destroys it from within (grey phallus).  The film is thoroughly laced with references to penises, whether it be dialogue directly linking penises to pistols, or just having people whipping it out in the desert or jail.

Surely you don't expect the lord to do everything for you, do you?  You got to earn his presence.  Then you got to recognise it.  Then you got to act on it.

Meacham, Cowboys and Aliens

Monday, January 21, 2019

2010 - Kether - Inception

''No, not just money: the chance to build cathedrals, entire cities - things that have never existed, things that couldn't exist in the real world.''

Cobb, Inception, Christopher Nolan

In 2010 (1 + 0 = 1) the Unifying Colour Theory began with the release of Inception by Christopher Nolan. The associations used in these analyses will mainly come from the Mystical Qabalah by Dion Fortune but embellished by other QBL/KBListic sources.  I will try to be as quick as possible and each one of these essays will list the associations, show you pictures from the film where the ideas were embedded and conclude with a short essay.  If you want to do this yourself, just read the relevant chapter of MQ before watching one of the films that takes place in the theory.  This is also a useful exercise if you are studying the QBL as you will need to memorise all the associations for each of the Sefiroth. It might be a good idea to write out these associations for yourself, memorise them, then watch the film and tick them off as they go (Nolan really is that clinical!) and that might help them stick.

  • TITLE: Kether - The Crown, (Ratzon - Will, Machashavah - Thought)
  • COLOUR: White
  • MAGICAL IMAGE: Ancient Bearded King seen in profile
  • PARTZUF: Arikh Anpin, the Long Suffering One
  • MAGICAL NAMES: Existence of existences, concealed of the concealed, ancient of ancients, the primordial point, the point within the circle
  • THEMES: The journey from Infinity to Unity, Infinite Regress, Creation, the Infinitessimal, Shattering of the Vessels, Kings who reigned in Edom
  • GOD NAME: Ehyieh, Existence, Reality
  • MUNDANE CHAKRA: The Primum Mobile, First Swirlings
  • ATTAINMENT: Completion of the Great Work
  • MICROCOSM: The Cranium











Inception is a movie based around the idea that an individual can control (Ratzon) someone else's dreams and also that those dreams can be artificially created and made labyrinthine by ''architects''.  The movie opens with the ancient king in profile (Ken Watanabe) and introduces us to the central problem, distinguishing reality from the dream - who is God here - Cobb or Saito?  The Dream Machine is reminiscent of a Tree of Life diagram split length-ways in half with some of the Sefirot appearing in the upper part of the briefcase and some in the lower; this Tree of Life being the means through which we connect our consciousnesses and share the dream.  In the film we see the protagonist wrestling with the problems of [this kind of] creative work - getting from nothing to something, infinity, infinite regress, the smashed kingdoms of his previous acts of creation - most of this is discussed via on-the-nose exposition/dialogue with the young architect, although the more complex ideas are treated in the scenes where he confronts his wife.   A sustained analysis* might reveal that the supporting characters are all personifications (Partzufim) of the Sefiroth, for instance note the yellow/orange tones indicating Hod/Mercury of the backgrounds in the scene where we meet the ''chemist'' Yusuf, or the pink/purple of Eames' shirt which links to Yesod/Luna and therefore to the mastery of dreaming and psychology that this character represents.  In terms of costume and set design you can see the dominant use of light shades of colours (light browns, greys, silvers, etc) and white, the amount of white increasing through the film as we get ''deeper into the dream'' culminating in the snow fortress scene where every character is wearing white, carrying white guns and throwing white hand grenades!  In Limbo we see scenes of the Shattering of the Vessels and the destroyed Kingdoms of Edom - this is more advanced Kabbalah and discusses how God or the Creator comes to terms with his older or failed projects.  Cob then reveals that he has lived for centuries in this lowest level of the mind and is truly the Ancient of Ancients.  After coming to terms with this, he ''wakes up'' on the plane with the Great Work (i.e. controlling Fischer's dreams and the inception itself) seemingly complete. The Primum Mobile, the First Swirlings are a theme we repeatedly return to via the ''Totem'' which leaves us in the end not knowing whether we have ever encountered reality or have always been suspended in Cobb's dream.  Much like life.

Wait, Cobb, I'm lost.  Whose subconscious are we going into?

Ariadne, Inception, Christopher Nolan



Sunday, January 13, 2019

2019 - Malkuth - Unifying Colour Theory

Over at Secret Sun I was making predictions on what would be the use of colours (primarily in the fashion and film of the most powerful houses in those industries) throughout 2019.  If the colours of the Year of Malkuth (2019, 1 + 9 = 10) are citrine (yellow), olive (green), russet (red) and black, and the Unifying Colour Theory is correct, then this is what we should be seeing rolling out, right now, and over the next year.

Are you listening to me or are you looking at the woman in the yellow dress?  Look again! 

In the previous post I gave some thoughts on the difficulties of influencing society through these ritual elements - production problems, how much of your efforts ''land'', etc - and the way in which the ideas need to be seeded by influencers a little before the beginning of each year so during the year the colour holds sway.  Returning to the Golden Dawn Colours above, the Year of Malkuth then is even more complex as there are four colours to ''deploy'' as opposed to one, it also makes explaining it more difficult as well.


If we were such a ritualist, there are a couple of ways we could approach this problem - we could a) roll them out one by one with the first quarter of 2019 being yellow, then the next green etc or b) we could attempt to roll them out ''as one''.  I would argue from observations that both of these approaches are being used.

Anyone with eyes to see has seen the roll out of yellow (bright yellow all the way to a kind of dijon mustard) as a fashion choice, first for women and then afterwards for men.  But yellow is very difficult to pull off as a sole colour and was nominally paired with black during late 2018.  If you watch the Bumblebee trailer you'll see the primary use of yellow, paired with other things, including amongst the colours, exhortations towards the 'mystical bond between man and machine' and the nostalgia nuke of the Beatle car itself.  They also rick roll you at the end.

During December 2018 the colours in nearly all of the shops I looked in were using all of the colours of Malkuth, listed above as the primary display by the entrance - people made those purchases and now I reckon from looking around me that about every fourth person is playing this game (not everyone will buy a new winter coat after all).

If the theory is true we will see the same colours, probably in different shades, being used during Spring, and we imagine it will be even more visible. We might even see the ''prime'' colour change from yellow (which is leading at the moment) to green.

An even more obvious use of yellow as ''fashion'' is in the gilet jaune movement which could conceivably dominate the conversation throughout the first quarter.  If the theory is correct could we see a shift to a ''green'' political movement in the second quarter or is the olive/green colour we will see the military on the streets countering rising unrest in Europe?  During The Aftermath movie, scheduled for release on April 26th we can see the use of all these colours in the costume design for Keira Knightley's character but against that background of military green (olive).  There will be many more releases like this where we can see ahead of time whether the theory will be true or just an extreme case of confirmation bias.

When I look over sites like Vigilant Citizen I can't be sure exactly how much detailed knowledge of the occult is at work or how much of it is pointing and going look - ''spooky evil magic symbolism stuff''.  Without at least an attempt at really understanding the thinking behind it how are their observations of any real use?  Do they think that the very act of studying the magic will corrupt them, that all magic is, by its very nature, black magic?  I'd like to, at least, believe in white magic.  With that in mind, I'd like to discuss what it means to be the Year of Malkuth and how this connects with some of the things that Secret Sun has been observing.

If the theory is true and the colours have been ''beaming'' out as theosophical rays, over humanity, then the path that we, as a society, are being taken down is the lightning flash of the Golden Dawn Tree of Life.  Now this is fairly basic magickal theory, the Lightning Flash is effectively the metaphysics behind how plurality (Malkuth) is ''conjured'' from unity (Keter)*, but what does it mean when used as a global ritual in this way.  As ever, looking at the opposite of a thing can tell us more about the thing itself.

Andy, the path of the Fool, looking at Kether, the White ''Sphere''

In Painting by Numbers in Twin Peaks - The Return I argue that David Lynch is taking us back up the Tree, i.e. that the Doppleganger and Tulpa - Red Room - (City) state is Malkuth, and Twin Peaks (Nature) is Kether.  I then used this theory to make a prediction about the nature of a following episode and, in the end, mapped out roughly what would happen through the Return before it happened. We finally reach this Kether, when the splintered Dale (Evil Coop, Dougie Coop) is restored to his unity in the actual town of Twin Peaks, by tracing the paths that connect the two together - within esoteric circles this process is called The Tree of Return (Teshuvah, the Return).  Therefore the path down the Tree, the lighting flash, the means by which unity is turned to plurality, is the means by which you create the dopplegangers, the tulpas, the splits, the alters, etc.  

You could make the positive argument that the journey from the White of Kether to the Yellows, Olives, Reddy Browns and Blacks of Malkuth could be the journey of a predominately white society to a more pluralistic one and that this has been the sole focus of the ritual to encourage us to accept that plurality. On the other hand, you could argue that within years we will be entering the post-identity era where the gender, racial and sexuality issues that concern us today are seen as simply the amuse bouche.  The rise of the evil doppleganger of your internet profile is the real starter and the main course we will be served is a heady mixture of digital clones (things that write your emails, or ''like'' shit for you on instagram), the demons of ''chat'', AI, live deep fakes, actual physical clones, etc, where you will not only not know who you are talking to, but even not know who you are - this to me sounds more like the journey into The Red Room and more like the apocalyptic observations of the Secret Sun.

So who is behind this and why would you want to do that to society?  The general perception amongst circles like those of Vigilant Citizen or David Icke are that it is a demonic spirit-mediated (or inter-dimensional alien) human agency like the Illuminati.  That rituals happen in various locations and instructions are received from various things either physically, telepathically or through channeling or possession and then carried out accordingly.  Another way of looking at it is that there are a group of extra-dimensional entities at work influencing people unconsciously, that this story, if you like, is being written through people that are not even aware of their role in the greater plot - are those thoughts you are having really yours..?  The motivation is to either a) attempt to prepare/acclimatise us for the technological shocks outlined above or b) more insidiously, involve themselves actively in the process of splitting everyone's personality, a kind of Global MKUltra.  I am not sure exactly where I stand on all this but I do think there are serious problems with over-reliance on a spirit-model, as it has manifested in both conspiracy and esoteric circles, and that a time-centred model will eventually be seen to have more explanatory force.

Generally that organization(s) is seen to be keen for the burgeoning technologies to be released as rapidly as possible as they don't want being held back from the realisation of the trans-human,post-human vision and the alternative is either what a) hold back, slow up, regulate these technologies or b) ban/outlaw them?  I can potentially see a nativist anti-technology toxic-nostalgia movement maybe getting a global ban on certain mass cloning techniques, digital or otherwise, but it'll all still be weaponized, black market and available to the elite so I don't see how that is a path to victory on this, it just seems to be a path to wilful ignorance of the possibilities of evil.  I feel that we are damned if we do and damned if we don't. 

Maybe we are just damned.
Dr Faustus - Where art thou damned?
Mephistopheles - In Hell.
Dr Faustus - How comes it then that thou art out of hell?
Mephistopheles - Why Faustus, this is Hell, nor am I out of it.

Dr Faustus, Christopher Marlowe

Father Faustus Blackwood

n.b. You will see the use of Blue instead of Black in the four colours of Malkuth, this is to link directly with the elements as well.  Although you are seeing a little light blue about at the moment, blue won't finally take hold until the final quarter and that it will be a very dark navy blue, i.e. the actual navy!  If the theory is correct and continues they may go back to the beginning and we'll see white in 2020, or they will go back up and we'll see the same thing in reverse over the next decade.

*Understanding the paradox of getting from 0 ''to'' 1 however is far from basic as its part of the most complicated forms of metaphysics behind the Lurianic Kabbalah.