Unfinished Apocalypse (details, individual panels)
Cursorily summarized explanatory essay of:
The Apocalypse of Humankind and its geometric proof as rediscovered through art
A work in progress; included here is an extremely summarized explanation. A book has been in the works since the artwork began. If life allows and if its needed it’ll be completed someday.
The main concern within this piece as a whole, has been an attempt from the get-go to illustrate humankind’s inner search to locate its own source, and source of suffering; and my own desire to create a sort-of talisman of this necessary spiritual process – in progress.
The world is in turmoil. We’ve entered into a state of environmental emergency, and are mainly in denial as to what we could/should do to alleviate this crisis. Having induced this crisis through negative thinking, or thinking in general, yet are complacent to it, for the most part; we could if we so will, change our thinking. Traditionally – spiritually, thoughts can be considered as living entities; they may be possessing, controlling and lead one, or many, down precipitous winding roads. They may be confusing or clear, argumentative or agreeable. They may be positive or negative, beneficent or malignant; they may be like an angel or a demon – helpful or hurtful. Thoughts are with us; there is the rare person who isn’t swayed by them and reactant to them. So imagine living with no dominance from thought, no opposites, no this or that, no decision, no troubles. It seems the moments of clarity we have in life, where we sort-of, sink-in and are immersed within experience, whatever it may be, are when there is no thinking involved; we trust in nature then and things take their course. We can by inherent human capacity, learn to adhere to a practice of no thinking, which would take us easily out of the troubles we’ve caused, by not trying to get out of them, which would allow nature to fill in and fulfill itself, and us. By this we rediscover peace. Art – in its primal essence is for to initiate into this clear, free from thought experience. It might require work, it may not. With this particular work of art I tried to do the very opposite from creating a merely aesthetically pleasing, relaxing artistic experience of beauty – but willingly, purposely went into the troubles I felt the world was undergoing; watch, listen, observe the thoughts, the chaos of modernity, the wars, violence, pollution, and so much fear – was the preparation and practice. The light i was using by going on this inward journey, into these dark spaces of ignorance, shifts the inner energies themselves, lets nature work its ways, and attempts to give some aid to our troubled earth. Nature helps nature. This is related, in a sense to the ancient homeopathic principle. When there is a sickness, one takes a little bit of the sickness in order to overcome the disease in general. So, this particular piece of art is one of excitation and one that may require deep commitment, to get at its inner meaning, resulting in, once the work is done and the fire of engagement is passed through, a feeling of peace, self-assurance and self-knowledge is achieved. This required much, much thought which I was bound within for some 18 years. A punctuated equilibrium of working on it when emotional catastrophe called. All in hopes this little macrocosm of imagery would ripple effects to the world, albeit metaphysically at least.
“Apocalypse”, means, to discover, uncover, reveal, unmask, to show, to disclose something once veiled and now needing open to view. There may be something coming on the Horizon, and it may be a surprise. Apocalypse never meant, in its original meaning, complete violent utter destruction. There are some who put that quite different connotation into it and spread this false doctrine all around the globe; and we are seeing some of the results of this belief system causing so much confusion and havoc. Certain authorities have utilized this “end of times” fear to control the minds of many; pollution war and fear of each other are a result, in part. Time doesn’t end, until one goes deep within, beyond its constraints. There one finds peace, it does not require war. True Revelation, actual Revolution is non-violent, something different, new, fresh – that which will bring happiness and light on its wings – not more the same recursive violent patterns of history.
Humans (some groups more than others) are the certain cause of a definite ecological collapse – which in a real sense is quite natural, yet not quite healthy, it ‘s prehistorical, yet history its culmination, all in manner of speaking. I was first inspired to do this drawing upon hearing a talk by the music band Killing Joke; “The Courtauld Talks”. It was concerned with the philosophy of why their music is made in the way it is, seemingly dark as it is, yet sublime and beautiful; of how this musical method is a very ancient form of healing magic, and is a quite natural result of living in a world of suffering; the extremities of which are where the majority of people are lacking deep spiritual practice. To take a little bit of the poison present in modern life, under certain conditions, in context of entering into states of vulnerability – with music as a guide, through a journey into a darkened inner landscape, one may learn bravery by facing and eventually healing the issue at hand. By ignoring the current calamities and going right along with contemporary ways – the changing fads and fashions, one is, in a sense, used by these (energies), gets taken over and in the same sense – controlled – creator moved about by its creation. This struck me as enormously important, and a real fresh take on how to approach art. Yet it is ancient. This drawing is created in that light, a purging light, one that eradicates fear of the current crises, by facing, going into them and clearing them up. I think of it as a book in pictures.
The symbology of this piece, is composed of many signs, aggregating or coalescing into one great symbol, which is the entire piece itself. The focus of this here short essay is the bottom central panel of the drawing. When understood that it is to be read, or gone through somewhat like an alchemical mandala, it’s much easier to comprehend; that it has been created out of a longing to devise a teaching device of sorts – mainly a mnemonic tool for myself. This would for me, in my mythological world, as tradition puts it – redirect, redistribute those ‘lower, lesser’ forces of ‘evil ‘ thoughts, those which are the cause of the troubles (effects) we see in the news daily – binding “them” and at the same time releasing, freeing these energies from supposed bondage (a double opposing spiral and a vortex of sorts). The “them” is soon found to be none other than ones’ own creation – all so-to-speak. This, for the student seeker or observer would create or recreate a balancing agent – like an angelic messenger, a supra-thought form, a new way to see, a new angle of vision, one that is more encompassing – and thereby to heal crises within. Within is where it all begins.
Evil begins within ignorance, Mal-alignment of vision, I believe. Consider the words Angel and Angle, they have the same root source meaning. We see sacred art and societies which use it – art, to be adhering towards what is, in a sense – symmetrical. Our modern cities and lifestyles are scattered, disarrayed, confused and quite out-of-balance. While-as what we consider Sacred is quite in-balance, harmonious, obviously of a natural order, not contrived. We may consider the environment to be “out there” yet fail to see that everyone else’s “out there”, is us, or everything in their surroundings, which is everyone else. All the infinite variety of mirrored images compose the whole world. The mission is to become non-ignorant concerning this particular question of: “how to free the world of evil” which is the same as, how to free oneself, how to become clear minded, and learn how to encapsulate this personal process into a drawing. We must never forget each individual is a reflection and reiteration of the whole. So, what one does, in a real sense, the whole world does. Our environmental havoc we’ve wrought is a symptom of something within us, as a whole, and individually. It is an outward sign of a symbolical process within; a spiritual transformation, reflected, and manifested outwardly.
The drawing is made from 10 separate 19×24”panels (totaling 72×57”) joined together to form a story. I see it as occurring on and works in three levels; 1. The top level; standing; the physical body, the average height of a grown adult, looking toward the horizon, fight and or flight, superficial understanding, the modern world with it dominant capitalist culture, industrial paradigm; the powers ,intelligence’s that have seemingly taken over, surging from below, within the underworld to form a nightmare world which is confused , polluted, hurried to fulfill base sensual desires. 2. The middle level; sitting in a chair; the mental faculties, history, psychology, thinking and tracing the problems inward deeper and going to their common source. 3. Lowest level; sitting on the ground, meditation into the great illusory division of spirit body, the inner world of the mind and its faculties which create our physical world, a spiraling tube torus and the temple of the universal mind, a reflection of what is below is like that which is above, equal yet opposite.
The contents of this third level is what I wanted to share in this paper as I feel I have come into a significant and notable series of correspondences that have been discovered in certain geometric forms and how they interrelate. This here is greatly reduced and truncated to a bare minimum, to save on space. More on all this later. Sacred geometry was and is an essential study tool to look into this important work, as has always been in both spiritual and physical sciences. The environmental crisis we face with all its concurrent social troubles all are due to, it is found, to the seeming sense of division between humans and nature. Of course, not all humans are burdened with this feeling as much as others might be. I wanted to trace out the problem to its source, for those who are – as I believe that the final manifestation of our dis-unity begins with disassociation of our mental environment with our physical environment, resulting in a degraded natural world; to the degree where it will become of such emergency that the human species will be forced to unite peacefully, or perhaps perish. For, this physical realm holds lessons for the spirit only the body can teach.
Why go through all this, humanity I mean? Certainly there is a purpose to all this suffering, through history. All this building civilizations which (inevitably) falls down. Civilizations wax and wane, and we know this; what are we reaching for within this? We’ve been here before, yet not exactly the same. What can we learn from all the travail? When it comes right down to it, I think that much of our modern accomplishments are a reflection and reiteration of some process Earth itself needs to work out. It has always been known that there are certain natural laws we are not to cross – yet they have been trespassed, nowadays to a major degree; We know it and still do it.
This situation we’re in is the main impulse within the seed potential of our evolution, a destiny that we might meet, only if we promote peaceful unification of the human. We reside in space and time, in a cusp period called the apocalypse. We are seeing it every day. This is what it looks like, feels like and thinks like. We have entered in to a cusp period where the great the revelation of what we are, resides presently, and those whom have eyes to see and ears to hear, do just this, and work for the good of others to do the same. The term pandemonium can describe the state we are in; where all the Gods are, all the genius, all spirits meet, all angels – where all angles converge; if only for a time. This implies responsibility to act in accordance with the ways of spirit, to sacrifice by giving all our talents to assume the spirit in the earth, as our self.
That all being said, cursory as it is, has been said time again through course of history. Not much new here. The geometric drawings below are included alongside brief explanations, and the final outcome thus far where this study has taken me. To understand what will be gone into one would be helped by possessing a basic knowledge of traditional symbology of each geometric figure. At the same time know that many years of study went into this, so there is much foundation behind it all, not yet said. I am only going into the bottom middle panel, as said. The entirety of the rest of the drawing also has geometric symbols which interrelate with others throughout and which lead to what we will be going straight into now.
It’s said that the universe divided itself sacredly. So, I adhered to this and sought to find just how and why and to synthesize the division pictorially – through the three sacred mathematical/geometric roots 2, 3 and 5, or how they coincide; showing their purposes and differences and put this into an ‘understandable’ diagram or figure; to look into the correspondence of the second, third and fourth dimensions, and illustrate it. I believe by this I could come to know the why and how we are in the predicament we’re in; and, by doing so this would convey the knowledge needed to help alleviate some of the suffering. For it is only through love of labor shall we be released from the toil we undergo.
If this interests you enough, I am asking for some aid with the “proof”. I am definitely not a mathematician a superb geometer (by my own standards). I am reaching out to find those whom may be interested enough and proficient at sacred geometry to see if what I have come up with is geometrically true. I’ve had years of struggle in the checking to see if this is correct, have drawn and redrawn many times over and feel (mostly) certain this is true – symbolically for sure. I realize of course that the drawings seem hastily done and could use some refinement. This may come in time. Overall I do think that what I essentially getting at here is correct.
It may not be apparent what my question actually is, so please ask!
I hope this will be entertaining and interesting if you have decided to go on.
Please read the short illustrated essay of sacred geometry in ” Geometrical Studies” album, on this website for a bit more in depth coverage.
ABOVE: This is the main focus of this study; calling it (Symbol 1).
The Icosahedron, “on its side”, in 2d, looking into its ‘golden rectangle’ division viewpoint. That is, both top and bottom red horizontal lines have a measurement of 1.618 when compared with the vertical lines delineating the edges of this figure. This is an idealized view of the Icosahedron in 2 dimensions, flat on a plane surface. In 3 dimensions – solid space – the perspective would ‘warp’ the view of the angles.
Contained within this drawing … the Circle Squared and Earth/Moon and compound angle of within Great Pyramid of Giza, all in relationship.
Interesting that the side left and right edges of the square coincide with two apices of the icosahedron. (in 2d of course), and the top and bottom edges run along the long side of the golden rectangle.
The compound angle of the great pyramid at ground level, 51’51’ (apparent angle) and its face value of 58’ 17’ (actual angle) – the difference of which is 6.66…….The lower pyramids apex is in the center of the moon circle and the upper pyramids apex is at the top of the moon and the top of the icosahedron.
Important note: There may still be some conjecture about what the true numbers of the actual geometric triangles of the original structure was built as, but the angular difference between them was meant as close to proximate to perfect geometric symbology as humanly possible. The number of this angular discrepancy stated above, its symbology is basically one of good, it is not a malignant number – no number could be. Please study it. One will find in it a benignant cosmological function.
I have used the work of John Michell, Matila Ghyka, and Robert Lawlor to put these pieces together.
Could this be like the asymptote of the hyperbola, getting nearer to (yet never reaching) the perfect atonement and final reconciliation of the three special roots 2, 3, and 5: or is nature, by definition perfectly flawed?
ABOVE: same view of the icosahedron, yet there are two “Pythagorean” 3-4-5 triangles (brown) on either side of the Moon (blue) which delineate the top of the square (purple). The special triangle is in red. Moon and Earth have here an 11/3 relationship considering the measure of the two right angled triangles.
ABOVE: the same icosahedron, earth/moon figure again, yet the special configuration is on the “side”. A double square rectangle is seen in the center.
This was partially taken from Matila Gyhka.
ABOVE: Symbol 1 again. Viewing the golden rectangle, and the double square, in blue, whose diagonal (in red) is the same, but different numbers depending on which figure one is looking at, (either the golden rectangle or the double square). Of the former 1.9 +-…Root of Golden Rectangle…, and the latter 2.236 = root 5. Root 5 is that of the double square.
ABOVE: The Great Pyramid ground level 51′ 51′ angle viewpoint with a double square extended from its hypotenuse, then at the center of the top square a line is drawn to divide the square in half. Does this line touch the top of the Queens’ chamber?
ABOVE: Again the great pyramid, this time the 58 17’ angle included (in blue) in addition to the 51 51’ angle (in red). Again a square is created , this time from the greater angle and a line dropped to divide the square in two,, does this line touch the kings chamber? If so where?
The triangle that forms between the two differing views of the pyramid and squares is the same one that appears within the above (Symbol 1).
It seems to me that both of the” Air shafts/star sighting alignment shafts”, of both the queen and Kings’ chambers run parallel to their own respective square.
(I used a tracing of the schematic cut -away diagrams that were presented by Tons Brunes in his Secrets of Ancient Geometry.) And as for the number measurements of the Great Pyramid, they were originally taken from John Mitchell.
Moving on, ABOVE: The spiraling squares diagram exhibiting the roots 2 (squares) and 3 (triangles) coinciding, another compound angle triangle separating and connecting the squares.
ABOVE: The same diagram, shifted, tilted in “perspective” as a 3D plane surface.
ABOVE: The same again, yet each square is risen up to its three-dimensional counterpart forming a cube.
ABOVE: Showing root 2 in blue then the cube, root 3 in red, then the double cube above and below the plane, in yellow, the double cube could have 2 root 5 diagonal lines – one in 3d and one in 2d; the two-dimensional line in blue is 2.236 and the three-dimensional line in red (which is the mathematical root 6 = 2.449.
ABOVE: Top of page: More of the original symbol 1. Displaying the icosahedron, the earth/moon relationship which forms the special compound angles triangle, and the two squares resulting from this extended to form two respective double squares (in color). Also showing the harmonic expansion of the “earth” circle/ squared, and how it lines up in-sync with the entire model. Just underneath that to the left is the Vesica Piscis and the rectangle corresponding with the root 3 = 1.732…measurement; this nears the perfect 30/60-degree angle of an equilateral tringle which is present as the base format of a hexagon: This is the angle which the great pyramid approaches yet is compromised by its reciprocal compound angle corresponding to the PHI angle – the angle the pyramid is seen at from ground level. To elucidate take this ground level view of the pyramid, split it in two (the dotted line) and we have 1 as base, PHI as slope angle, and Root of Phi as hypotenuse. Square root of Phi = 1.27201965. Also seen here to the right, is the double square three-dimensional rectangle view of the Kings chamber which can be measured as a 3-4-5 triangle. The 3 would be a root 2, 1.414…the 4 would have a measure of 2 and the 5 would measure 2.236…which is the square root of 5. We can see how all these separate aspects/ facets correspond in an overlapping symbolic manner which reiterates one another – harmonically.
I think this here Pyramid, in its symbolical structure, among other things, was meant to convey the sense of spiritual upliftment, from the physical manifest imperfect realm, into the spiritual unmanifest, perfectly balanced realm, all-the-while illustrating their interdependence within each other. There can be nor spiritual without the physical (perhaps). We require a physical body for a time to discover enlightenment. If we do not have a clean functioning Biosphere with a populace working together peaceably, then we are thwarted in this venture.
ABOVE: Copied from Robert Williams book the Geometrical Foundation of Natural Structure. I reproduced it (behind the scenes) in the final design of the drawing. I learned the entire transforming repeat pattern could have a square lattice within/behind it all. Squares, root 2 surrounded by equilateral triangles, root 3 transfiguring into “hexagonal pentagrams”, root 5. Is this a reconciliation of the three sacred roots, something I am in question of? I hope I am asking the right questions!
ABOVE: Looking into how, and or if, and when, the squares and hexagons line up in a 2-dimensional ideal setting – periodically, or not. They do seem to do so. Is there a music formatting with this?
These next pictures are of the Icosahedron, the Hexahedron (cube) with the “Unicursal hexagram” present as an underlying ordering principle that defines and is defined by the three sacred roots 2, 3 and 5, are presented to explain further my interest within the differences between the two and three dimensions, and how all things considerable depend upon the angle it is viewed from.
ABOVE: This is a drawing of the Unicursal Hexagram.
ABOVE: The same figure showing it has 4 pentagonal angles of 72 degrees as well as 2 hexagonal angles of 30 degrees forming the top and bottom.
ABOVE: Wire model of Unicursal Hexagram.
BELOW: A wire and wood model of the icosahedron “on its side”, the golden rectangle view, the wood sticks that are within are a 3-dimensional model of a Unicursal Hexagram. And a few more various viewpoints. This particular Unicursal Hexagram defines and is defined by the root 3 and root 5.
This is a Unicursal Hexagram model which is proportioned to the Icosahedron.
Here are a variety of viewpoints of the same model which is of the proportions fitting to the Icosahedron
BELOW: The cube with the Unicursal hexagram lines defining its root 2 and root 3.
Its two inner lines crossing the diagonal represent the root 3 and the other four lines along the periphery are root 2 and show up at the outer sides of the cube.
BELOW: cubes with the Unicursal hexagram drawn on their peripheries, with two of those cubes stacked to show the root 5; 2.236…, on the 2 dimensional surface. The root 5 going through the diagonal of the double cube, creates a root 6; 2.449 – in multi-dimensionaland; An ‘elongated’ unicursal hexagram.
Below: This is the circle squared sectioned into four with the diagonal of the square and the root 5 diagonal of the double square forming another version of the Unicursal Hexagram. This is also called the “Star Cut” diagram.
BELOW: This is the icosahedron within the cube where the sides are touching the inside of the cube. Thus unit 1 (side) of the cube is also the 1.618 measurement of the icosahedron’s internal span. This is posted here simply to show how many of these Geo-mathematical correspondences, overlap, interweave, co-relate and sort of spiral around a central concept of Unity.
(taken form Keith Critchlows’ order in space)