Sunday, April 1, 2012

TABOO- ICE, LIVESTOCK, EARTH-MOUND, BLOOD  -12"LP
on HOT RELEASES label out of Carrboro, North Carolina.  Romantic, decadent and spiritual allegory. Recorded in Portland Maine at Tank28 by Caleb of Big Blood on mostly 1/2 inch tape. (then out of amps back to tape, and back to tape again)
on sale at http://www.hot-releases.org/
listen:





TABOO- POWER, CHARISMA, INFLUENCE & PROPERTY   -12" LP
A Wagnerian, invocational, and left-hand path romp.  
recorded with love by A. Nuebauer onto 1/4 tape. 
$14.00

TABOO- DEATH TO FALSE MAGICK c90 tape 
One side recorded by TABOO during a sudden thunderstorm, the other recorded live by Bill Doob at Wileyfest 09'



TABOO- EROTIC CROSSWORD OF HUMAN BONDAGE c47 tape
a weaving of textural TABOO home recordings





for more information contact: taboo@9fingers.org
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Photos of TABOO & ANCESTRAL DIET performing at Wierd Night, NYC February 15th 2012 http://www.flickr.com/photos/wierd/6933947191/in/set-72157629464036833/



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NO NOTHING

(the following are selections from HAIL!, a work in progress by Krssy Oft' Oktorn)

Everything has been done before.  There is nothing new.  We've watched post-modernism pass, the gigantic steel hull cutting a heavy wake in the grey water, parting flocks of terrified birds.  Nihilism set in, and re-set in and re-set in.  Progress and experimentation, once well oiled imagination production machines donned coats of rust and began to show symptoms of disrepair.  Newness has become a dated concept, retiring its role as a value symbol.  Another hierarchy is emerging, rising out of the bower mire like a rigid phallus bubbling over with copious afterbirth.  NEW IS OLD.  Modernity is coming to an end.  In the budding hierarchy that is poising to take dominance there is no ‘old’ and ‘new’, those are utilitarian and rationalist terms to denote place in time.  In the coming hierarchy there is only that which is timeless or that which is temporal.  What makes something timeless?  To be timeless, in literature and art, something has to be composed of or attuned to archetypes.  Archetypes are the building blocks that construct as well as the characters that populate myth systems, and thus, they are the same materials and entities present in all fine art and literature.  Literature replaced myth when man became civilized.  It is merely another strategy used by manifesting archetypes and the sorcerers who invoke them.  The Webster's dictionary says literature is written compositions of "lasting quality".  These compositions exist outside of time because they touch on fundamental functions and conflicts experienced by the human consciousness.  They speak the language of gnosis.  Symbol systems that conjure parables and allegories, metaphors and anecdotes, stories and statements that illuminate forces in nature, human nature. 
Many authors and thinkers have suggested that all the western narratives and legends that humans are familiar with can be simplified to just a handful of plots, and almost all of these originate from ancient times.   In 'Forbidden Knowledge' Robert Shattuck mentions that some scholars agree on there being only thirty-six dramatic situations.  He goes on to remark that "One of the distinguishing features of our Western collection of myths is that most of them come from ancient sources- Egyptian, Greek, Judaic, Near Eastern.  The number of post-classical myths is so limited that I can identify only two that have emerged in the last thousand years."
 Humans, in synthesis with their surroundings, the terra firma, have a finite amount of functions.  Shattuck says, "The slow collective crystallization of popular stories into a handful of myths reveals some of the shapes our lives may take and the yearnings they express or repress".  How human's perception of their environments, their microcosm, interact with the macrocosm also seams to yield an amount of functions that is more often to the finite side.   These functions, the problems they create and the entities that operate or guard them are the archetypes.  When works of art and written or performed compositions properly evoke these archetypes, they are planted firmly out of the flow of time.  Although proper evocation is not effortless.  A major effort is necessary to conjure the aethers and one must be careful, even an aesthetic can date an archetypal manifestation rendering it temporal.  The aesthetic must be pure and adorned with fruits of labor.
Archetypes are the sentinels of gnosis and are co-conspirators with the MUSE, who is herself half archetype and half our own being.  So those intimate with the MUSE share the responsibility of guarding and manifesting the archetypes.  In ancient hierarchal civilizations this was ordained to the priestly class, a body of society with inherent relationships with the MUSE who could fathom and interpret the archetypes into myths.  These were then passed to the artists and artisans who made them manifest for the benefit of the populace.   In ancient India there was a tripartition of society.  The visah were farmers and workers, the ksatra were warriors, and the brahman were priests and administrators.  One class to produce food and build, one class to protect their homes and farms and another to give spiritual meaning to their lives.  This was simply based on what one was capable of and inclined for, passed down from generation to generation, and at one time was harmonious.  Only members of the warrior class were strong and brave enough to engage in battle, only those of the working class had the skills necessary to build sound structures and grow bountiful crops, and only those of the priestly class could pursue such scholarly tasks and have the abstract understanding to fathom complex spiritual concepts. 
In the "Uranian" model presented by Julius Evola, the Italian transcendental traditionalist, it was this elite aristocracy who were solely capable of accessing the numen through sacred rites.  Numen is sheer, invisible power that is capable of producing mass physical effects.  So in this ancient tradition, the ruling class were demigods who manipulated regular reality through their connection with the metaphysical realm.  The Egyptian pharaoh Kemotef (who's name means "his mothers bull", and bull being a common Egyptian symbol for the female reproductive system results in a name of symbolic significance of something like "he who is the womb of his own mother" or "his own primordial creation") declares: "O gods you are safe if I am safe; your doubles are safe if my double is at the head of all living doubles; everybody lives if I live."  Those of this priestly class could at times rival the gods, and be just as disruptive to them as the gods could be to mankind.
These ancient hierarchies have since broken down.  Evola remarked that "The hyperrealistic world that was substantiated with pure and sheer action was replaced with a subreal and confused world of emotions, imagination, hopes, and fears; this world became increasingly "human" and powerless as it followed various stages of the general involution and alteration of primordial tradition."  Although, those connected to the archetypal continuum still have the power to progenate high culture, but only at a pace that is indifferent to time.  (As Evola did with his aeonicly oriented UR group)  To actively participate in true art and literature is to set the foundations of the next hierarchy in this age for another aeon. 
           
CULTURAL INGREDIENTS MAKE LANGUAGE SOUNDS
Language was created from a necessity to communicate.  Communicate simply that ripe berries were nearby and which direction they were, perhaps how long it would take to get there.  At this point humans were largely terrestrial, they divided their calendars by the rise of temperature ushering in the growth of wild things, with the drop in temperature which killed most of the vegetation. (Walpurgis and Halloween)  So they looked to the earth rather than the sky for seasonal shifts.   When agriculture emerged humans evolved and new archetypes were born.    Now it was necessary to communicate more complex ideas.  How to grow, harvest, process and store food and drugs and when to do it.  Watching the pattern of the sun was useful in predicting when to plant and harvest.  Humans became celestial, and so did their calendars (solstice and equinox) as well as their consciousness.  Tools were devised and social organization became integral.  The wide variety of items, actions and elements were assigned sounds and symbols to represent them.  The two married.  Soon the symbols became systems.  The symbols could achieve many fantastic things. 
           
Two great bodies, male Artifice and female Nature came together to conceive the immortal spirit Agriculture who was tethered to both parents eternally.  Miraculously, Agriculture gave birth to twin spirits, Civilization and Language.  The twins incestuously paired and produced Culture.  For centuries they all lived in perfect harmony, each fulfilling it's divine and individual duty.  Eventually a mysterious disease took hold of the clan and they became sick, especially Culture.  The others could hold it at bay but Culture began to notice it was unlike it's kin.  It wasn't a body like Artifice or Nature or immortal like Civilization and Language.  It related to Agriculture, who was given life-force through physical contact with it's parents, but Civilization and Language had no body to touch.  Language saw that Culture needed something from them to keep it alive but Civilization wouldn't listen.  It wanted all the life-force for it's self.  Language became furious and stabbed Civilization with a sharp tooth given to Language by Nature, making it bleed.  It took the blood and offered it to Culture who drank it greedily.  It made Culture strong, perhaps stronger than an immortal.  Culture asked Language what this stuff was and Language told Culture it was literature so Culture wouldn't worry about Civilization.  When Language went at Civilization with the sharp tooth a second time Civilization was ready.   Civilization had been given a cage by Artifice.  When Language approached, Civilization pushed Language into the cage and locked it.  Culture was thus deprived of it's literature, rendering it even weaker than it was before it tasted Civilization's blood.   In time, Civilization's wound healed and when it did it paraded before Language and suffering, helpless Culture to gloat.  When Civilization was so wrapped up in it's showing off that it had turned a blind eye to it's victims, Language tossed the sharp tooth to Culture.  Culture licked a bit of dried literature that clung to the tooth and was filled with a surge of power.  The cage was destroyed and Civilization was again stabbed, spilling hot literature into Culture's thirsty mouth.  Language was set free.  Civilization howled and held onto it's wound, looking forward to the day when it could take revenge on Culture. 

"A long row to hoe" "straight from the horse's mouth" "he went and bought the farm"
Common expressions are frequently referential to agricultural realities, often situational metaphors that are now totally unfamiliar to most.  But the agrarian is part of our psyche even if we're separated from it.  Obsessive lawn mowing harkens back to ploughing and working fields, keeping pets fulfills desires towards animal husbandry.  We can't escape these functions.  Nest building, burrowing, migrating and hibernating are all instinctual behavior patterns of various animals.  Farming and keeping livestock are instinctual to humans.

            A look at language etymologically reveals it's agrarian roots.  Words broken down into their simplest forms yield terms used for all parts of agricultural existence... 
A RETURN TO ARCHETYPES
TURN, from Greek 'troros': to bore, to drill, oscillate like a lathe
Oscillations creating entropy, the return energy
the return, i.e.; the harvest, the yield and the fortune made there from
'tere': to rub or to turn, to twist or to pierce
to rub away the hulls from the grain by threshing
(trampling with an Ox) or by flailing with flails.
the harvest, the return
to thresh is to thrash
to cause trauma
to tread is to wear out
the threshold is an entryway, the step of a door that gets rubbed away
from constant stepping through the portal
'tornos', the Greek tool used to draw a circle
a lathe, to turn, contour, detour,
return
tribulation, an ordeal that wears one out
Latin-'trio': plow ox, tribulum: threshing sledge
dredge

DREDGE THE CYCLICAL GNOSIS, RETRIEVE THE TROPHY...
TROPOS: TURN AWAY. OLD TROUBADORE




Such explorations are possible with a deep well of Indo-European words.  The Agrarian and the archetypal linger together in the morning mist that clings to the rolling meadows.  The archetypes haunt the words as they're sown onto the page or as they take their leap from the fertile tongue to land upon the meadow grounds and dance as their ancestors danced and toiled.  Early on language was largely molded from agriculture so naturally literature's early episodes took place in agrarian settings.  In classical Greek mythology one preferable setting was the Arcadian.  Arcadia, named after Arcas; son of Zeus and Callisto, refers to a mountainous region in the central Peloponnesus, a peninsula in southern Greece.  This region, populated by supposedly happy shepherds who lived the Arcadian ideal, an idyllic rural existence ripe with nymphs, fauns and of course PAN himself.  Although, this harmonious existence was also the shroud of secrets, hermetic secrets; the ARCANE.  It was here in this salacious pastoral paradise that many of the myth systems to later invade literature picked up inertia by becoming the fulcrums of symbolism key to the illumination of the human condition.  The archetypes are pure and clear in a pastoral setting.  The huntress moves swiftly through the sloping terrain with her bowstring slung across her breast.  

Rooted in Celtic myth, converted into oral legends from Wales and Ireland, written out in Gothic cathedrals in France and Germany in the 12th and 13th century and then finally brought back to Britain by Sir Thomas Malory in the 1600's, the Arthurian stories of chivalry and grail quest might be one of the only post-classical myth systems aside from the Faust metaphor.  Heavily steeped in pastoral landscape, the Arthurian quest motif carried a certain chivalric arcadianism, which entered England just after Edmund Spencer's pivotal work 'The Faerie Queene', composed during the 1590's. 

Spencer wrote in an antiquated style, intending to somewhat invoke Chaucer and paint his pastoral landscapes all the more rustic.  This resulted in some disapproval from the contemporary English renaissance critics, but really the anachronism (as anachronisms do) probably only added to his works volatility.  Not to mention that English grammar in general at that point had reached a certain amorphousness.  For nearly two hundred years spelling and language mechanics were without an authoritative rule, this linguistic primordialism made 'The Faerie Queene' all the more potent. 

Spencer for-saw the Arcadian ideal as an agoraphobic nightmare space where male artifice and the female chthonian collide.  The bower, or meadow garden; a half controlled half wild place of female dominion and vampiric dominance over male impulses to construct, project and erect.  The bower makes the phallus go limp, (but not necessarily without climax first, because it is after all a pleasure place, teaming with aphrodesia) and if the masculine is disabled, rationalism is impossible.  Consequently, when rationalism is banished, once again symbol and aesthetic reign, which is exactly what happened.  In the late 19th century Symbolism, Aestheticism as well as Decadence emerged as the climax of Romanticism which in itself was a retreat from Rationalism.  These fin de siecle movements (The Pre-Raphaelites, Huysmans, Baudelaire, dandyism, Wilde, even the Impressionists, etc.) were essentially spawned from the languid bower Spencer had made a hermaphroditic oracle, and thus an archetypal MUSE.  The MUSE rides the agrarian/pastoral/arcadian/bowerian thread like a train through the flat, black tunnel of occidental history.  It wraps all the way around and collides with her/us from behind and we die as we are propelled onward through the continuum.   In the flash we glimpse a humanistic (terrestrial) rather than cosmic (celestial) Uroboros...

...Our existence as groups of people boils down to Language, Blood, and Myth.  Human presence is seized by Language-Knot.  Our tongues make sounds, the sounds distinct to a region, a region inhabited by gene pools which create weavings of entangled lineages.  These sounds are abstractions that compose the myths that bind these people, and through the abstraction of myth the people interact with nature, consciousness and the universe.  Language binds, blood binds, myth binds...culture is language-knot!

So, in both myth, art, ritual and literature archetypes may manifest. In his major work, 'The Myths and Gods of India'  Alain DaniÈlou points out "Through great sacrifices, which became more and more elaborate and developed into gigantic rituals, man took his place in nature."  Invocation of the archetypes leads to high culture, and high culture that is in divine harmony with nature.  Although an imposing obstacle stands in the way; monotheism.  It was monotheism that toppled high culture as well as crushed tribal life in Europe and elsewhere, and it was under the reign of monotheism that western conceptions of science, morality and rationality were hatched.  Modernism ushered in atheism, which is nothing really besides the negative of monotheism, merely its shadow.  The two are married and compose a duality that can't be separated.  Monotheism lacks a functioning philosophy in reality and is set up to fail.  If one is to worship only one god, with one standard set of rituals, limited to a small collection of parables, then he can never fully gain consciousness.   At the point that he reaches the limit of spiritual development in any monotheistic mode he must choose to go into a state of denial (insanity), switch religions to another monotheistic faith, or become an atheist.  All modes are the path of monotheism, a malignant system of belief based wholly on abstinence and denial of the reality nature presents to us through our senses of perception.  (A disastrous control mechanism that emerged early in the Kali Yuga alongside societal labor technologies, written law, growing population, and cultural mingling)
Polytheism, on the other hand, is integrated with nature and is based entirely on perception.  The universe reveals itself as it is.  What is beyond rational comprehension, what is unknown, mysterious or multifaceted is dealt with through allegory and symbolic abstraction.  Polytheistic traditions offer a cosmological order and an entire allegorical pantheon of anthropomorphic deities.  They are anthropomorphic because to understand them, their essence and their function, they are perceived as we are, more or less human.  They are at once totally real and totally metaphoric, by nature. 
The gods are infinitesimal, and no one god demands sole worship.  In fact, because of the infinite nature of the polytheistic pantheon one could worship the Hindu and the Norse gods simultaneously.  (Although that is entirely on the fringe of the philosophy of either religions, and is mostly facilitated through Indo-European parallels)  The religions themselves develop in a place, and a people, a genetic pool of people develop with it, tied to the region they inhabit.  This is ideal for nature, but causes a predicament for the modern polytheist in the West and particularly in America.  Americans have been displaced and blended with myriads of cultures, how can they properly practice the pure polytheism found in their blood memory?  Simply adopting one particular foreign tradition makes one feel as though they are merely an actor, going through the motions of a religion that one has chosen intellectually.  Another problem with this is the tendency to dwell on the past and adopt ancient customs without evaluating how much of these customs are temporal, i.e. merely from the past.   The pairing of honest discernment with keen instinct can overcome these obstacles, although, in pursuance of ancestral religious forms many still tend to neglect the native order of elemental deities manifest where they reside geographically.  To be spiritually holistic the two spheres, ancestral and regional, must be bonded.
Studying the whole of myth and literature, uncovering the esoteric, partaking in natural cycles and occurrences in ones bio-region, and thus developing a cohesive system of rituals to invoke the archetypes found in nature, is in itself an ambiguous polytheism.  This Archetypism, if practiced in one particular region, with a relatively static group of people would eventually develop its own cosmological perception and allegorical pantheon.  Over time the ambiguity would fall away, leaving room for the current of high culture to rise.  Being able to recognize archetypes is the first step towards perceiving cosmological order and the gods. ("Those that worship the Gods become Gods; those that worship ancestors become ancestors, those that worship the elements master the elements..." Bhagavadgita) 

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