PEGATINA ROYAL!



En la antigua alquimia, la química experimental se encontraba mezclada con especulaciones generales, intuitivo-imaginativas (en parte, religiosas) sobre la naturaleza y el hombre. En lo desconocido de la materia se proyectaron diversos símbolos que nosotros reconocemos como contenidos del inconsciente. El alquimista buscaba el "misterio de Dios" en la materia ignota y de ello deducía procedimientos de recetas que pueden equipararse con la actual psicología del inconsciente. También ésta se ve enfrentada a un fenómeno objetivo desconocido: el inconsciente.

C.G.J

Recuerdos, sueños y pensamientos, Madrid: Seix Barral.















¿Cuál es el mito qué tú vives?
¿Cuál es el mito qué tú vives?
¿Cuál es el mito qué tú vives?



....El de Orfeo, el algún Semidios tratando de demostrar algo, algún guerrero quizás, el de uno que vive bajo las aguas....por ahi enamorado de una ninfa platónicamente....egocéntrico no



-----------------------------------------------------------------------


Un poderoso rey, discípulo del filósofo indio Sánkara, quien enseñaba que todo cuanto existe es maya (ilusión creada por la ignorancia), decidió poner a prueba al maestro.

Para ello mandó que le soltaran un enorme y peligroso elefante enfurecido por una quemadura. Sánkara, nada más verlo, salió corriendo y trepó hasta lo alto de una palmera con una destreza más propia de marineros que de intelectuales.

Una vez capturado el elefante, Sánkara se presentó en la corte. El rey, con una sonrisa apenas disimulada , preguntó al venerable maestro por qué había recurrido a una fuga física, dado que el elefante tenía un carácter puramente ilusorio y fenoménico.

El sabio replicó: "En efecto, la verdad es que el elefante es irreal. Con todo, tú y yo somos tan irreales como ese elefante. Sólo tu ignorancia, ocultando la verdad con un espectáculo ilusorio, te hizo ver mi yo fenoménico trepando a un árbol irreal"


----------------------

¿Cómo debemos entender esto? El principium individuationis es el fundamento de la división y particularización de todo lo que existe; las cosas están en el espacio y en el tiempo; están juntas aquí, pero justamente en la medida en que se hallan separadas unas de otras, donde una acaba, la otra empieza; el espacio y el tiempo se juntan y separan a la vez. Lo que nosotros llamamos de ordinario las cosas o lo existente, es una pluralidad inabarcable de realidades distintas, separadas, pero, sin embargo, juntas y reunidas en la unidad de espacio y tiempo. Esta visión del mundo, que se refiere a la separación de lo existente, a su pluralidad y disgregación, se encuentra, sin saberlo, prisionera de una apariencia-así piensa Nietzsche, siguiendo en ello a Schopenhauer-está engañada por el velo de Maya. Esta apariencia es el mundo de los fenómenos, que sólo sale a nuestro encuentro en las formas subjetivas del espacio y el tiempo. El mundo, en cuanto es verdaderamente, en cuanto es la "cosa en sí", no está disgregado en absoluto en la pluralidad; constituye una vida ininterrumpida, es una corriente única. La pluralidad de lo existente es apariencia, es mero fenómeno; en verdad, todo es uno.



---------------------------------------
















La potencia artística de la naturaleza, no ya la de un ser humano individual, es la que aquí se revela: un barro más noble, un mármol más precioso son aquí amasados y tallados: el ser humano.




-

Pegatina Royal. Tiene sentido. No tiene.

[What is magick?]
MAGIC From Latin magi, pl. (Greek magoi, pl. of magos, a Magian, one of the Median tribe; also an enchanter, properly a wise-man who interpreted dreams; Old Persian mugh, one of the Magi, a fire-worshipper; Sanskrit maga "a priest of the sun"; maybe related to maha, "great" and maya, illusion; perhaps, ultimately, even the Maya of Central America. Compare Hebrew makeshef, "magician"). Magic is actually short for "Magic Art". The connection between magus and magnus "great" also appears in Hebrew. As in Latin the word for "great", produces "master or teacher" (magister) , so Hebrew rab produces "rabbi". However the confusion in Hebrew does not arise because the word for "magic" (qeshem) is not related to rab".
The word in this form is found with precisely the same meaning (or mystery) in most European tongues and even in Japanese majutsu, (which they no doubt borrowed from the Portuguese).

JOHN O'KEEFE: "Magic is the defense of the self against the malevolence of society."

BERNARD BROMAGE: "The word has, more often than not, been used, not for illumination, not as a guide to ascertainable verity, but as a camouflage to conceal a man's ignorance; and, worse, his calculated ineptitude and folly. The word can be said to have ceased to be a word and to have become a byword: a symbol surrounded by an evilly phosphorescent light, of man's infernal capacity for avoiding the issues. . . Magic, tout court, is immensely concerned with the 'Extension of Consciousness'; the widening of frontiers; the increase and development of every variety of sense perception. To be a magician one must learn to investigate all phenomena with the eye of the scientist who scorns no possible hypothesis nor neglects to take into the fullest consideration the complete structure of our actual and potential being. . . it is not a solace for the frustrated, but a reward for the pure of heart. Its final appeal is not to curiosity or greed, but to reverence and acceptance."

PETER CARROLL: "The world is magical but designed to make us believe we are not magi."

"All events are basically magical, arising spontaneously without prior cause. Physical laws are only statistical approximations. Consciousness, magic and chaos are the same thing. Consciousness also makes things happen without prior cause."

ALEISTER CROWLEY: "All Art is Magick"

DION FORTUNE: "Magic is the art of changing consciousness at will."

KENNETH GRANT: "Magick is the apotheosis of the Irrational, the acme of the absurd, and the reification of the impossible."

GURDJIEFF: ". . .I decided to call those undertakings which required intentional action of higher centers - those centers which are properly the feeling and thinking centers, capable of emotional sensing and of mentation respectively, but which are ordinarily unformed through absorption of their rightful impressions by the false emotional and intellectual centers of the psyche - objective magic, having as its result the obtaining of real knowledge."

"I thus separated this objective magic from its ordinary counterpart, 'magic of the psyche', in which purely fantastic results are obtained, and self-calming and amusement are the only attainments. Under this category I placed my former endeavors as a medium and psychic, as well as those results obtained by theosophy, occultism and so forth, all of which up to then had quite fascinated and attracted my attention."

ELIPHAS LÉVI: "Would you learn to reign over yourself and others? Learn how to will. How can one learn to will? This is the first arcanum of magical initiation. . ."

MACGREGOR MATTHEWS: "To practice magic, both the imagination and the Will must be called into action, they are co-equal in the work. . . The Will unaided can send forth a current. . . yet its effect is vague and indefinite. . . the Imagination unaided can create an image. . . yet it can do nothing of importance, unless vitalized and directed by the Will."

PARACELSUS: "The exercise of true magic does not require any ceremonies or conjurations, or the making of circles and signs; it requires neither benedictions nor maledictions in words, neither verbal blessings or curses."

DIANE DE PRIMA: "Look at the forces behind the things rather than just at the object or event. If I have a working definition of magic it's that behind every single thing in the world an infinite tunnel opens of reference, cross-references, and forces, and how these things interlock in nets."

RIMBAUD: "The Poet transforms himself into a seer through a long, immense and determined, rational disordering of all his sense. Every form of love, suffering and madness he seeks within himself and exhausts in himself all poisons, preserving but their quintessences. Ineffable torture where he will need all of his faith and superhuman strength, making him among men, the great Sick Man, the Thrice-Damned, the Arch-Criminal - and the supreme Savant! - for he arrives at the Unknown! Since he has cultivated his soul, already richer than any other man's, he thereby reaches the Unknown, and, even if, insane in the end, he should lose every shred of understanding gained so laboriously, he will have had his Visions! He may perish in his leap into those innumerable, unnameable things, there will follow other terrible workers. They will begin at the horizons where he fell."

ROMULUS: "Magic is living poetry."