Tarot Spread
Updated; 1 July 2008, 11:56, GMT+01:00.
(This post will be amended - until done.)
Hi All,
So. I's 'a played around with the Tarot at around abouts noon today - goin' all arundo!
How to Make Use of The Tarot to Tell a Story
A psychodynamic, poetomythic exercise
I do this Tarot lay according to a system of my own that I've developed. There are two bases to this approach:
1. The basis of a certain characteristic of our cognitory ability - we can only count to four (4!) [as does the Crow, on the limbic level we're no better]. If we attempt to count ordered stuff at a glance, as if glancin' out the window from a train and seein' a few poles standin between houses, well how many did we see? Science has shown that we get confused if there are more than four objects to perceive, 5 and it could well have been 6, or maybe 4?, well so it goes, four (4) objects we will count spontaneously (a reference to this I found in an old copy of the magazine Scientific American, I'll try to dig up the reference, as time allows). I once had to count a great heap of transistors, yeh, and I did 'em in fours an' dammit, it made for an easy flow of maual sorting, glancing at the pattern of four, and countin' up. Number dynamics. Huh! Here's an example of the poet/philosopher Aleister Crowleys (so fond of the occult) wievs on 'number':In the case of the number 2, the only issue is the return to the unity or to the negative. No continuous process can be conveniently symbolized; but the number 4 lends itself, not only to this rigid extension [to enlarge the "universe of discourse" - note by me], the hard facts of nature, but also to the transcendence of space and time by a continuously self-compensating change.
(The Book of Thoth, p. 117)
The basic idea of patterns of four transposed onto a storyline would give rise to something akin' to a li'l poem of four lines, four phrases for a li'l story to make. From four syntactic nodes the underpinnings of a dramaturgy may be constructed, a fundament appears, the cornerstone (ay, four corners) for a greater story to elaborate upon, as whim and inclination may have it. So a little story arrives, based on a lay of four horizontal strips (as in a comic book, say) of cards aligned with each new row displayed below the former (as the lines of a poem are). Four sequences of cards, four row of cards, each one of those rows to be ended with an archetype, with one of the Trumps, this thus distinctly rounds off the sequence of attributes and people of the preceding cards. Four lines, four phrases, as said, each one ending up with a Tarot Trump, the archetypal iconic image, have enough contextual mass to tell a li'l tale, whether by fantasy enhanced (by the randomly patterned symbolic fallout) or by psychodynamic allusion, that is, our inner drives and wishes and wants and our abouts may all be projected onto the final pattern and thus we may embed nexuses of personal relevance to the resulting canard (it's all tounge in cheek, part of this whole set up is it's entertainment value); a poetomythic exercise.
2. The idea of a metaphoric stairwell of evolutionary backdrop and forecast represented by archetypes of the ordered metaphor as translated into mythic aggregates - the Tarot 'Triumphs' or, just plainly, 'Trumps' (the High Arcana of, traditionally 22 cards, but for the purposes here expanded into a full suite of 24 representations - I will come up with a more poignant, I hope, explanation for the reason of this shortly, but, very shortly, briefly, this need of two additional cards for the high arcana mainly hinges on the dynamic of the construed structure of the evolutionary stairwell alluded to).
I take my cue here from the writings of Timothy Leary who in his superlative hariolatory work "The Game of Life", and other writings on "The Neurogenetic Theory of Human Evolution", has set out concepts that make it possible for us to comprehend a great evolutionary formula as reflected in the evolution of myth and thus aptly exemplified by the Tarot. So. I do not look upon the pack of Tarot cards as an occult divinatory device but rather as a revelator of a neurogenetic message on the evolution of life - applicable to the mundane through the psychodynamic syntax-reflexive impact of 'archetype'. To quote Dr. Leary:
The neurogenetic theory of evolution defines twelve larval and twelve post-terrestrial stages of human evolution.
Four terrestrial neuro-technologies:
1. Safety (Biological Trust-Distrust technology)
2. Security (Politic-territorial technology)
3. Sanity (Epistemology laryngeal-manual-symbolic)
4. Socio-Sexual (Ethics - hive belongingness)
Four Post-terrestrial Neuro-technologies:
5. Aesthetic-Neurosomatic (Control of Body)
6. Ontologic-Neurophysical (Control of Brain)
7. Teleologic-Neurogenetic (Control of DNA)
8. Eschatological-Neuro-atomic (Control of Quantum Mechanics)
This theory is based on the evolution of the eight-circuit nervous system through twenty-four metamorphic stages, each of increasing mobility. Why twenty-four?
Because each of the eight neural circuits has three sequential functions:
• Reception of signals; dendritic
• Integration of signals (intelligence); cell-body
• Transmission of signals; axonic
("The Game of Life", 1979, p.46.)
So. that's all pretty far out but it does make for an interesting backdrop as one goes about creating ones own little tale from the premises of the Tarot. There's an evolutionary scheme on hand. The trumps, in their archetypal agency, by force of the directive they contain (in an evolutionary sense), offer qualities of dynamic intent, of transformational pivots and of broad connectivities, they become as intuition pumps for whatever hasty relevance we may draw from the patterned lay and thus feed our imagination ramification as we go about makin up a story of our own - in the final end, as I purview the Tarot lay, I see pattern everywhere, it bursts upon me as a bright bubbly fractal convergence. Uh!
Ok! Here's my Tarot draw for today. Now. Allow me to step by step take you through the li'l story that this lay encourages me to develop.
© ª § ¨
(* See footnote in regard of the Tarot cards below.)
•
Here's the first sequence of this my Tarot lay, three cards:
,
,
.
Abundance, Queen of Discs, Hierophant.
So. I look at this sequence with a Queen centered 'tween abundance and mastery of the symbol, as represented by the Hierophant. Aha I say, now who is this Queen? An anima of mine or some actual 'other' entity comin' to the fore? As my mind throws about with an abundant feel, there's almost an overflow here, but it's monkey-talk, the Hierophant represents the emergence of social (gestural, not symbolic) communication technology, territorial control is achieved by elevation and herd communication, political survival technology, monkey troop. the Hierophant, is also transformational as it represents the beginning of a migration from Security (Politic-territorial) to Sanity (Epistemology laryngeal-manual-symbolic) and thus embodies the outpouring of the evolutionary vector into the wide, wild blue yonder. Yes. There's definitely a lady here surrounded by abundances, but here they are abstractions, a potential of the inner life, and the lady is somewhat introvert as the Queen of Discs alludes to more complex interior forces that have to be contemplated to be understood. The dark and light of the lady is upheld by the surronding cornucopias, they act like forces to lift and enhance this brooding moment of inwardness. the Hierophant, in this dynamism , acts at the transmitting end of the politico-territorial platform, and suggests a smooth transition towards evolutionary possibilities (glancin' down, across the rows of cards, I spy 'The Universe' comin up - interesting).
I might also spin a personal angle on these three representations. There was a lovely lady, lovely Diana, livin' with me for two years. Lady Di 'a rented' a room from me and though we were never a couple we yet had this creative thing going - I instructed her in an approach towards the painterly arts, painting in oils, which she appropriated and ambitiously realized in the painting of 35 canvases, the lady has talent (remarkable, as she never before in her life had had the opportunity to use a 'studio', that I was able to provide) - meanwhile I might be composin' a song, or two (I did quite a few of those over these two years [see my MySpace music site "An Another Albatross Arrives"]). So, it was all very rewarding, so to say, there was an 'Abundance' 'tween us. In this I can see myself somehow, in these circumstances, as engaging some of the characteristics of the Hierophant, preparing the ground for a new epistemological outlook, as relates to the deeper concerns, of an artist, say, the why of it, the flows, the breakin' an' pickin' up points, not the least gravitational effects, both of storyline complexity, full 'a centers of narrational gravity, and surging through the painters body as it adapts its movement and momentum in ruled dramaturgy against that basal force (the arm tires, the brush droops). Well, so I was as a 'mentor' here, at least as goes for some technicalities of painting, an' maybe as for some 'a me philosophies too, which, at times, heavily meander the symbolisms of mind and nature, snake's-handedly, glinting at the mythos by adopting the logos, uhm?, well. An' all the while's lady Di's an' I'd gyrate our societal pavanes. Yet Lady Di was lookin' across the ocean, as her heart would wish and her child forlorn be waitin'. So I knew one day she had to go. Oh, Lady Di. I do miss you.
But anyway, here we are, the creative abundance and progressive stance of the Tarot sequence here is but slightly shadowed by the introvertness of the Queen. To pursue or not to pursue? The treasure of abundance juxtaposed over the pattern of dynamic inner life, as suggested by the Hierophant, reveals a potential for accomplishment that strangely hangs in the balance, a hint of possibility, resources to develop, decisions to take.
O Queen. My Lady. Look long inside. Wait.
Your stance subdued awhile in the rich and wild winding flow.
• •
The second sequence, one card:
.
The Universe.
Wow! The second sequence came up one card straight. The archetype as a nexus in itself. In the medieval Tarot this card, The Universe, is the final card of the high arcana, like fulfilment, everything you dreamed of, all wishes come true, Groundhog runnin' by the country stream ... yes! In the 21 century Tarot (with the added two Triumphs, or Trumps) we have a full triple octet, 24 cards, to represent the eight nodes (of respectively input, integration, transmission), or steppin' stones, that unfold structurally one by one as we, both as individuals an species, make our ascent up the evolutionary stairway, up the ladder 'o life, out 'a the gravitational well an' beyond. Here in this card ,The Universe, we have extension, complete expansion. An enormous outpouring that offers us a panorama of possibility, a great receptive space, a receptacle for the ornaments, of life and living, that we treasure. O great integrator, lift me, let me come near, entice me. O sailor, now you're free rider of the galactic spin express, spinner of that quantum consciousness, hew your way, here we approach nuclear territory.
From the personal angle this card, "The Universe", tells me of fulfilment for the Quen of Discs. Hey Di, there's a great potential within you. Locate yourself. Realize the mission. Move on to Grand Central Calactic Station. Activate yourself. Use them quiescent neurotechnologies, and step by step (as I get close to you) we should a travel Up-Town, where the main vector avenues are. We should'a transfer to the express line, accelerate to link-up velocity and - switch, switch, switch - we'll be there. O Wild Blue Yonder, O galactic tide, I'm a gettin out 'a the grasp of the past. (This last paragraph based on Learys "Game of Life", p. 276.)
O Tides. Gather me the four corners of the world. Fill me up with wild blue wonder.
All light and shadow entice.
• • •
The third sequence, two cards:
,
.
Worry, The Hanged Man.
Well, as I plough this wild whimsy of poetomythical ramble I get into complications. Woory. Uh! Yes. Surely. I have to transmute. Even as I enter this, the Hedonistic Consumer state, represented by The Hanged Man, if fell I must pass on further, move past passive awareness, become unbound by the aesthete, give free rein to imagination and vector myself correctly as zero-gravity liberates consciousness - and all. I get off the fourt larval cycle and transmute myself from Caterpillar to Butterfly, gettin into the subjectivity of zero-gravity narrative consciousness stuff. To transcend or not to transcend. I have this choice, and of course I worry, I head towards a second birth, in fact I'm drawn into it as consciousness blooms with expectation and starts gathering experience of a more abstract nature, totality-based perspectives appear, the pull from Galactic Central start to be felt. I have to go, I'm gone, I've blown my top. I soar. But whereto? Lets find out.
On a more mundane level this card bespeaks of the multiple concerns Diana and I have had, and still have, to navigate (bein' both in slightly desperate existential dire straits - economy, life, love, responsibilites, demands, unfortunaties, etc). As Di's son lives in abroad, and as she's been separated from him, for all this while, there's that natural longing to unite, and this is, of course, a real worry (to be underhandedly projected upon this Tarot lay). So. The plan has been growin'. Diana leaves, is leaving, is gone. For me that leaves me with no alternative but to transcend (out'a this gravity well of existential boundedness). And same goes for Di, though her attentions, in the near future, have to focus on a multitude of mundanites. Findin' work, livin' space, connectin' up, all that. So this lay holds a reminder to seek the vision, start up the neuro-technologies (Yoga is a good part of that). Transcend.
Bind me, unbind me, the transform I shall transcend.
Sift yet the sands as this snake's-hands dream slips by.
• • • •
The fourth sequence, five cards:
,
,
,
,
.
Defeat, Strength, Ruin, Swiftness, The Magus.
And the King and the Queen tumble all down into pieces. Here dangers and potentials mix, all pinnacled though upon the cognate spark of The Magus. A mobility shall rise, as the flow goes on the beat goes on, pulse of despair and joy, at sea Neptune rides the Shark, as Aries hits the dawn. These extremes of tumbledown dynamics all now must integrate and organize, autonomic survival signals whizz the air. Deep breaths I take, the dinghy deck wobbled there, shall bear the brunt of motive force.
Alas. The tide has turned, the circle is complete though its balance moment broken, the ring of fire is cast in waters deep haze glitters the horizon. Red sails in the sunset. Beyond the horizon...
So. Wild winds catch me, throw me atumble, pulse my powers.
O Genitor, Thou actuates me and thus the hurried cry. I am at sea. As is She.
Ok! I'll be back, for that 'Update Tour'.
Albatross
* Tarot cards by Aleister Crowley (drawn by Lady Frieda Harris).
I found these cards at the "Tarot and Playing Cards Museum".
References:
Crowley, Aleister: The Book of Thoth, 1944 (my edition is from 1974); ISBN: 0-87728-268-4.
Leary, Timothy; The Game of Life, 1979 (first edition); ISBN 0-915238-30-6.
(This post will be amended - until done.)
Hi All,
So. I's 'a played around with the Tarot at around abouts noon today - goin' all arundo!
How to Make Use of The Tarot to Tell a Story
A psychodynamic, poetomythic exercise
I do this Tarot lay according to a system of my own that I've developed. There are two bases to this approach:
1. The basis of a certain characteristic of our cognitory ability - we can only count to four (4!) [as does the Crow, on the limbic level we're no better]. If we attempt to count ordered stuff at a glance, as if glancin' out the window from a train and seein' a few poles standin between houses, well how many did we see? Science has shown that we get confused if there are more than four objects to perceive, 5 and it could well have been 6, or maybe 4?, well so it goes, four (4) objects we will count spontaneously (a reference to this I found in an old copy of the magazine Scientific American, I'll try to dig up the reference, as time allows). I once had to count a great heap of transistors, yeh, and I did 'em in fours an' dammit, it made for an easy flow of maual sorting, glancing at the pattern of four, and countin' up. Number dynamics. Huh! Here's an example of the poet/philosopher Aleister Crowleys (so fond of the occult) wievs on 'number':In the case of the number 2, the only issue is the return to the unity or to the negative. No continuous process can be conveniently symbolized; but the number 4 lends itself, not only to this rigid extension [to enlarge the "universe of discourse" - note by me], the hard facts of nature, but also to the transcendence of space and time by a continuously self-compensating change.
(The Book of Thoth, p. 117)
The basic idea of patterns of four transposed onto a storyline would give rise to something akin' to a li'l poem of four lines, four phrases for a li'l story to make. From four syntactic nodes the underpinnings of a dramaturgy may be constructed, a fundament appears, the cornerstone (ay, four corners) for a greater story to elaborate upon, as whim and inclination may have it. So a little story arrives, based on a lay of four horizontal strips (as in a comic book, say) of cards aligned with each new row displayed below the former (as the lines of a poem are). Four sequences of cards, four row of cards, each one of those rows to be ended with an archetype, with one of the Trumps, this thus distinctly rounds off the sequence of attributes and people of the preceding cards. Four lines, four phrases, as said, each one ending up with a Tarot Trump, the archetypal iconic image, have enough contextual mass to tell a li'l tale, whether by fantasy enhanced (by the randomly patterned symbolic fallout) or by psychodynamic allusion, that is, our inner drives and wishes and wants and our abouts may all be projected onto the final pattern and thus we may embed nexuses of personal relevance to the resulting canard (it's all tounge in cheek, part of this whole set up is it's entertainment value); a poetomythic exercise.
2. The idea of a metaphoric stairwell of evolutionary backdrop and forecast represented by archetypes of the ordered metaphor as translated into mythic aggregates - the Tarot 'Triumphs' or, just plainly, 'Trumps' (the High Arcana of, traditionally 22 cards, but for the purposes here expanded into a full suite of 24 representations - I will come up with a more poignant, I hope, explanation for the reason of this shortly, but, very shortly, briefly, this need of two additional cards for the high arcana mainly hinges on the dynamic of the construed structure of the evolutionary stairwell alluded to).
I take my cue here from the writings of Timothy Leary who in his superlative hariolatory work "The Game of Life", and other writings on "The Neurogenetic Theory of Human Evolution", has set out concepts that make it possible for us to comprehend a great evolutionary formula as reflected in the evolution of myth and thus aptly exemplified by the Tarot. So. I do not look upon the pack of Tarot cards as an occult divinatory device but rather as a revelator of a neurogenetic message on the evolution of life - applicable to the mundane through the psychodynamic syntax-reflexive impact of 'archetype'. To quote Dr. Leary:
The neurogenetic theory of evolution defines twelve larval and twelve post-terrestrial stages of human evolution.
Four terrestrial neuro-technologies:
1. Safety (Biological Trust-Distrust technology)
2. Security (Politic-territorial technology)
3. Sanity (Epistemology laryngeal-manual-symbolic)
4. Socio-Sexual (Ethics - hive belongingness)
Four Post-terrestrial Neuro-technologies:
5. Aesthetic-Neurosomatic (Control of Body)
6. Ontologic-Neurophysical (Control of Brain)
7. Teleologic-Neurogenetic (Control of DNA)
8. Eschatological-Neuro-atomic (Control of Quantum Mechanics)
This theory is based on the evolution of the eight-circuit nervous system through twenty-four metamorphic stages, each of increasing mobility. Why twenty-four?
Because each of the eight neural circuits has three sequential functions:
• Reception of signals; dendritic
• Integration of signals (intelligence); cell-body
• Transmission of signals; axonic
("The Game of Life", 1979, p.46.)
So. that's all pretty far out but it does make for an interesting backdrop as one goes about creating ones own little tale from the premises of the Tarot. There's an evolutionary scheme on hand. The trumps, in their archetypal agency, by force of the directive they contain (in an evolutionary sense), offer qualities of dynamic intent, of transformational pivots and of broad connectivities, they become as intuition pumps for whatever hasty relevance we may draw from the patterned lay and thus feed our imagination ramification as we go about makin up a story of our own - in the final end, as I purview the Tarot lay, I see pattern everywhere, it bursts upon me as a bright bubbly fractal convergence. Uh!
Ok! Here's my Tarot draw for today. Now. Allow me to step by step take you through the li'l story that this lay encourages me to develop.
© ª § ¨
(* See footnote in regard of the Tarot cards below.)
•
Here's the first sequence of this my Tarot lay, three cards:
,
,
.
Abundance, Queen of Discs, Hierophant.
So. I look at this sequence with a Queen centered 'tween abundance and mastery of the symbol, as represented by the Hierophant. Aha I say, now who is this Queen? An anima of mine or some actual 'other' entity comin' to the fore? As my mind throws about with an abundant feel, there's almost an overflow here, but it's monkey-talk, the Hierophant represents the emergence of social (gestural, not symbolic) communication technology, territorial control is achieved by elevation and herd communication, political survival technology, monkey troop. the Hierophant, is also transformational as it represents the beginning of a migration from Security (Politic-territorial) to Sanity (Epistemology laryngeal-manual-symbolic) and thus embodies the outpouring of the evolutionary vector into the wide, wild blue yonder. Yes. There's definitely a lady here surrounded by abundances, but here they are abstractions, a potential of the inner life, and the lady is somewhat introvert as the Queen of Discs alludes to more complex interior forces that have to be contemplated to be understood. The dark and light of the lady is upheld by the surronding cornucopias, they act like forces to lift and enhance this brooding moment of inwardness. the Hierophant, in this dynamism , acts at the transmitting end of the politico-territorial platform, and suggests a smooth transition towards evolutionary possibilities (glancin' down, across the rows of cards, I spy 'The Universe' comin up - interesting).
I might also spin a personal angle on these three representations. There was a lovely lady, lovely Diana, livin' with me for two years. Lady Di 'a rented' a room from me and though we were never a couple we yet had this creative thing going - I instructed her in an approach towards the painterly arts, painting in oils, which she appropriated and ambitiously realized in the painting of 35 canvases, the lady has talent (remarkable, as she never before in her life had had the opportunity to use a 'studio', that I was able to provide) - meanwhile I might be composin' a song, or two (I did quite a few of those over these two years [see my MySpace music site "An Another Albatross Arrives"]). So, it was all very rewarding, so to say, there was an 'Abundance' 'tween us. In this I can see myself somehow, in these circumstances, as engaging some of the characteristics of the Hierophant, preparing the ground for a new epistemological outlook, as relates to the deeper concerns, of an artist, say, the why of it, the flows, the breakin' an' pickin' up points, not the least gravitational effects, both of storyline complexity, full 'a centers of narrational gravity, and surging through the painters body as it adapts its movement and momentum in ruled dramaturgy against that basal force (the arm tires, the brush droops). Well, so I was as a 'mentor' here, at least as goes for some technicalities of painting, an' maybe as for some 'a me philosophies too, which, at times, heavily meander the symbolisms of mind and nature, snake's-handedly, glinting at the mythos by adopting the logos, uhm?, well. An' all the while's lady Di's an' I'd gyrate our societal pavanes. Yet Lady Di was lookin' across the ocean, as her heart would wish and her child forlorn be waitin'. So I knew one day she had to go. Oh, Lady Di. I do miss you.
But anyway, here we are, the creative abundance and progressive stance of the Tarot sequence here is but slightly shadowed by the introvertness of the Queen. To pursue or not to pursue? The treasure of abundance juxtaposed over the pattern of dynamic inner life, as suggested by the Hierophant, reveals a potential for accomplishment that strangely hangs in the balance, a hint of possibility, resources to develop, decisions to take.
O Queen. My Lady. Look long inside. Wait.
Your stance subdued awhile in the rich and wild winding flow.
• •
The second sequence, one card:
.
The Universe.
Wow! The second sequence came up one card straight. The archetype as a nexus in itself. In the medieval Tarot this card, The Universe, is the final card of the high arcana, like fulfilment, everything you dreamed of, all wishes come true, Groundhog runnin' by the country stream ... yes! In the 21 century Tarot (with the added two Triumphs, or Trumps) we have a full triple octet, 24 cards, to represent the eight nodes (of respectively input, integration, transmission), or steppin' stones, that unfold structurally one by one as we, both as individuals an species, make our ascent up the evolutionary stairway, up the ladder 'o life, out 'a the gravitational well an' beyond. Here in this card ,The Universe, we have extension, complete expansion. An enormous outpouring that offers us a panorama of possibility, a great receptive space, a receptacle for the ornaments, of life and living, that we treasure. O great integrator, lift me, let me come near, entice me. O sailor, now you're free rider of the galactic spin express, spinner of that quantum consciousness, hew your way, here we approach nuclear territory.
From the personal angle this card, "The Universe", tells me of fulfilment for the Quen of Discs. Hey Di, there's a great potential within you. Locate yourself. Realize the mission. Move on to Grand Central Calactic Station. Activate yourself. Use them quiescent neurotechnologies, and step by step (as I get close to you) we should a travel Up-Town, where the main vector avenues are. We should'a transfer to the express line, accelerate to link-up velocity and - switch, switch, switch - we'll be there. O Wild Blue Yonder, O galactic tide, I'm a gettin out 'a the grasp of the past. (This last paragraph based on Learys "Game of Life", p. 276.)
O Tides. Gather me the four corners of the world. Fill me up with wild blue wonder.
All light and shadow entice.
• • •
The third sequence, two cards:
,
.
Worry, The Hanged Man.
Well, as I plough this wild whimsy of poetomythical ramble I get into complications. Woory. Uh! Yes. Surely. I have to transmute. Even as I enter this, the Hedonistic Consumer state, represented by The Hanged Man, if fell I must pass on further, move past passive awareness, become unbound by the aesthete, give free rein to imagination and vector myself correctly as zero-gravity liberates consciousness - and all. I get off the fourt larval cycle and transmute myself from Caterpillar to Butterfly, gettin into the subjectivity of zero-gravity narrative consciousness stuff. To transcend or not to transcend. I have this choice, and of course I worry, I head towards a second birth, in fact I'm drawn into it as consciousness blooms with expectation and starts gathering experience of a more abstract nature, totality-based perspectives appear, the pull from Galactic Central start to be felt. I have to go, I'm gone, I've blown my top. I soar. But whereto? Lets find out.
On a more mundane level this card bespeaks of the multiple concerns Diana and I have had, and still have, to navigate (bein' both in slightly desperate existential dire straits - economy, life, love, responsibilites, demands, unfortunaties, etc). As Di's son lives in abroad, and as she's been separated from him, for all this while, there's that natural longing to unite, and this is, of course, a real worry (to be underhandedly projected upon this Tarot lay). So. The plan has been growin'. Diana leaves, is leaving, is gone. For me that leaves me with no alternative but to transcend (out'a this gravity well of existential boundedness). And same goes for Di, though her attentions, in the near future, have to focus on a multitude of mundanites. Findin' work, livin' space, connectin' up, all that. So this lay holds a reminder to seek the vision, start up the neuro-technologies (Yoga is a good part of that). Transcend.
Bind me, unbind me, the transform I shall transcend.
Sift yet the sands as this snake's-hands dream slips by.
• • • •
The fourth sequence, five cards:
,
,
,
,
.
Defeat, Strength, Ruin, Swiftness, The Magus.
And the King and the Queen tumble all down into pieces. Here dangers and potentials mix, all pinnacled though upon the cognate spark of The Magus. A mobility shall rise, as the flow goes on the beat goes on, pulse of despair and joy, at sea Neptune rides the Shark, as Aries hits the dawn. These extremes of tumbledown dynamics all now must integrate and organize, autonomic survival signals whizz the air. Deep breaths I take, the dinghy deck wobbled there, shall bear the brunt of motive force.
Alas. The tide has turned, the circle is complete though its balance moment broken, the ring of fire is cast in waters deep haze glitters the horizon. Red sails in the sunset. Beyond the horizon...
So. Wild winds catch me, throw me atumble, pulse my powers.
O Genitor, Thou actuates me and thus the hurried cry. I am at sea. As is She.
Ok! I'll be back, for that 'Update Tour'.
Albatross
* Tarot cards by Aleister Crowley (drawn by Lady Frieda Harris).
I found these cards at the "Tarot and Playing Cards Museum".
References:
Crowley, Aleister: The Book of Thoth, 1944 (my edition is from 1974); ISBN: 0-87728-268-4.
Leary, Timothy; The Game of Life, 1979 (first edition); ISBN 0-915238-30-6.