Unfinished Apocalypse (details, individual panels)
The Apocalypse of Humankind and its geometric proof as rediscovered through art
An extremely summarized explanation, cursory and shortened. 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 the ending of that suffering; every human standing as the the who;e of humanity: To create a sort-of talisman of this necessary spiritual process – in progress.
The world is in turmoil. It, we are spiritually on fire, flooded within whirlwinds of desire. Overwhelming waves of change are moving through us, and these changes are causing enormous disruption in Earth’s ecosystems. we are in need of a concerted world peace which has never before been attained, yet only by the individual has it, and by nearly every thinking, feeling individual, world-peace has been wished for. Humans, with our great and nearly monstrous modern civilizations, are world transformers. This once localized event has been occurring for long duration yet in ‘historical’ time has sped up exponentially to a planet wide occurrence. We’ve entered into a quickened state of social-environmental emergency by this one-world happening. We are mainly in denial as to what we could/should do to alleviate the many crises experienced by many once seemingly disparate peoples, now agglomerated to one world-wide crisis, for all for all people, now relearning to be known as one.
All occurrences are of Nature. Nature itself having gifted, granted, given humans the capacity for extreme intellect; and we having induced this current calamity through the many byways of this intellect – its thinking and those manifested actions, through historical time, which is now facing the end of its time, has to be seen as a natural occurrence. Environmental havoc we’ve wrought is symptomatic of that which is within us, as a whole, and individually; having been introduced, as it were, to this newfound intellectual capacity, slowly, surely unable to perceive its arising through us, as us, in evolution: an outward sign of a symbolical process; a spiritual-physical transformation both and neither good-bad, reflected, and manifested through our innate human creativity, seen in all we do.
Traditionally – spiritually, thoughts are considered living entities, or better, nearer what we are in our spirit, but yet not actually who we are at all; Like there are so many individuals on the planet, there so many thoughts yet all these are quite simply one being with one great Self. Thoughts may be possessing-controlling, may be confusing or clear, argumentative or agreeable, positive or negative, beneficent or malignant; they may be like an angel or a demon – helpful or hurtful, or somewhere deep in between – usually. We may pray with thought or we might curse. Thoughts are with us; there is the rare person who isn’t swayed by, reactant to them, or It; typically called Saints, Sages, who are few, who have met with and live daily as the true Self; yet all people have moments of clarity beyond thought, and this is where our greatest moments are.. Imagine living with no dominance from it, no opposites, no this or that, no decision, confusion, no troubles. In times 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. The best works of any genre of art, craft, skill, friendship, speaking, language, creative activity of any kind, come from this sort-of freedom. We can, by inherent human capacity, learn to adhere to a practice which can open a way of life – towards this clarity, which would take us easily out of the troubles we’ve caused; by not trying to get out of them, which may allow nature to fill in and fulfill itself, and us. By this we might rediscover a peace long sought.. Art – in its primal essence, of whatever kind, is to initiate into this clear, free from thought experience. It might require great work, it may not.
Certainly there is a purpose to suffering, all things experience it. Who has gotten out of it, are only those special people – Saints and Sages. But what of all this building up of these great cities which inevitably fall down. Civilizations wax and wane, and we know this; it is asked: what are we reaching for within this? What can we learn from all the travail? At the end of this question is found that much of our modern accomplishments are of a process Earth itself needs to work out, which has been elucidated to us by ancient wisdom held and disseminated by our Elders, at the heart.: This situation current is revealed as the main impulse within the seed potential of our evolution itself, a destiny that we might meet in full, only if we promote full peaceful unification of all peoples, starting within ourselves. We reside in a cusp period called Apocalypse. We are seeing it every day. This is what it looks like, feels like and thinks like. We have entered in to a period where the great 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 this state; where all spirits meet, the Gods of all peoples are, all genius’ coalesce, all angels – all angles converge; if only for a time being, for all people, yet only same may know that. Now is the time for this greatness of Being. This implied responsibility, to act in accordance with ways of spirit, to sacrifice by giving all talents to assume that Spirit in Earth, as our self, one Self, thus no self alone, or at all. This gateway to ascending from self-delusion and arising from the illusion that Physical existence has, is amongst us. Believe it or not.
“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 which is causing so much confusion. Certain authorities, unknowingly as they do, have utilized this end of times fear to control the minds of many. Time doesn’t end, until one goes deep within, beyond spacial constraints and those of thought. There, and on the way there, one finds peace. The fact that war does happen proves however of its requirement. True Revelation, actual Revolution is non-violent, something different, new, fresh – that which will bring happiness and light – not more the same recursive patterns of our shared dark violent history.
With this particular work of art I tried to do the very opposite from creating an aesthetically pleasing or relaxing artistic experience of beauty – but purposely went into the issues the world is undergoing; to watch, listen, observe the thoughts, the chaos of modernity, the wars, violence, pollution, and so much fear – was the preparation and practice. The same light held, by so many others, in going on this inward journey, into these dark spaces of ignorance, shifts the inner energies themselves, by the attempt to see into that darkness of unknowing, Nature helps nature. This is the ancient homeopathic principle. When there is a sickness, one takes a little bit of that particular sickness in order to overcome the disease in general. 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, color, aroma, 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 drawing is created in that ancient 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. So, this 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. However brief is better than before. This required much, much thought which I was so bound up within for some 18 years. A punctuated equilibrium of working on it when emotional catastrophe called – personal and political. All in hopes this little macrocosm of imagery would ripple effects to the world, albeit metaphysically at least.
Any so-called evil in the world begins with ignorance, a mal-alignment of vision. An angle of incidence in one’s conciousness aims one towards the actually non-existent extremes of “good” or “evil”, right or wrong. Angel and Angle have the same root source meaning. One’s personal Angel relates to one’s personal Genius, or individual message we’ve to bring to and give the world. We may consider the environment to be “out there” yet may fail to see that everyone else’s “out there”, is everything in their surroundings, which is everyone else. We must never forget each individual is a reflection and reiteration of the whole. All the infinite variety of mirrored images compose the whole world. So, what one does, in a real sense, the whole world does.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 many might be able to understand.
The symbology of this piece, is composed of many signs, coalescing into one great symbol, which is the entire piece itself. The focus here is the bottom central panel of the drawing. When understood that it is to be read, or gone through somewhat like an alchemical mandala, 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 – 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 ones’ own creation, thus a sort of illusion we may get deluded in – all so-to-speak. This, for the student seeker or attentive observer would create or recreate a balancing agent – like an angelic messenger, a supra-thought form, a new way to see, new angle of vision that is more encompassing – and thereby to heal crises within. Within is where it all begins.
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 the following images 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. 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 seeming 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, almost entirely. For this physical realm holds lessons for the soul better learnt through a healthy body.
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 the 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. 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; adhering to this, seeking to find just how and why, and to synthesize the division pictorially – through the three sacred prime mathematical/geometric roots 2, 3 and 5, or how they coincide; showing their purposes and differences and put this into a diagram or figure. 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 of it.
If this interests you enough, I am asking for some aid with the “proof”. I am definitely not a mathematician, nor a superb geometer. I would love 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 feel strongly that symbolically it is true. I realize that the drawings seem hastily done and could use some refinement. This may come in time.
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 the books by John Michell.
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.
This 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, perfect realm, all-the-while illustrating their interdependence with each other. 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. This a sort-of reconciliation of the three sacred roots.
ABOVE: Looking into how, and or if, and when, the squares and hexagons line up in a 2-dimensional ideal setting – periodically, or not.
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)