Honor and Magic

Infinite Fire Webinar III - John Dee's Monas Hieroglyphica

by Dr. P.J. Forshaw

With the Infinite Fire Webinar Series, the Ritman Library and the Center for the History of Hermetic Philosophy and Related Currents (GHF) of the University of Amsterdam have joined forces and are planting the seed for a Scholarly Hermetic Circle. As we announced at the beginning of September, in the coming year we will broadcast a series of 9 webinars in a format of 3 x 3 featuring three experts connected to the GHF, who will elaborate on their academic passions in relation to the library's treasures.

The third webinar is online featuring dr. Peter J. Forshaw, who shares with us his knowledge on the English alchemist and occultist John Dee and his Monas Hieroglyphica.

The Necessity of Magick for All

by Aleister Crowley
SOURCE: Hermetic.com

Right glad am I to hear that you have been so thoroughly satisfied with my explanation of what Magick is, and on what its theories rest.  It is good, too, hearing how much you were interested in the glimpse that you have had of some of its work in the world; more, that you grasped the fact that this apparently recondite and irrelevant information has an immediate bearing on your personal life of today.  Still, I was not surprised that you should add: "But why should I make a special study of, and devote my time and energy to acquiring proficiency in, the Science and Art of Magick?

Ah, well then, perhaps you have not understood my remarks at one of our earliest interviews as perfectly as you suppose!  For the crucial point of my exposition was that Magick is not a matter extraneous to the main current of your life, as music, gardening, or collection jade might be.  No, every act of your life is a magical act; whenever from ignorance, carelessness, clumsiness or what not, you come short of perfect artistic success, you inevitably register failure, discomfort, frustration.  Luckily for all of us, most of the acts essential to continued life are involuntary; the "unconscious" has become so used to doing its "True Will" that there is no need of interference; when such need arises, we call it disease, and seek to restore the machine to free spontaneous fulfillment of its function.

But this is only part of the story.  As things are, we have all adventured into an Universe of immeasurable, of incalculable, possibilities, of situations never contemplated by the trend of Evolution.  Man is a marine monster; when he decided that it would be better for him somehow to live on land, he had to grow lungs instead of gills.  When we want to travel over soft snow, we have to invent ski; when we wish to exchange thoughts, we must arrange a conventional code of sounds, of knots in string, of carved or written characters—in a word—embark upon the boundless ocean of hieroglyphics or symbols of one sort or another.  (Presently I shall have to explain the supreme importance of such systems; in fact, the Universe itself is not, and cannot be, anything but an arrangement of symbolic characters!)

Here we are, then, caught in a net of circumstances; if we are to do anything at all beyond automatic vegetative living, we must consciously apply ourselves to Magick, "the Science and Art" (let me remind you!) "of causing change to occur in conformity with the Will."  Observe that the least slackness or error means that things happen which do not thus conform; when this is so despite our efforts, we are (temporarily) baffled; when it is our own ignorance of what we ought to will, or lack of skill in adapting our means to the right end, then we set up a conflict in our own Nature: our act is suicidal.  Such interior struggle is at the base of nearly all neuroses, as Freud recently "discovered"—as if this had not been taught, and taught without his massed errors, by the great teachers of the past!  The Taoist doctrine, in particular, is most precise and most emphatic on this point; indeed, it may seem to some of us to overshoot the mark; for nothing is permissible in that scheme but frictionless adjustment and adaptation to circumstance.  "Benevolence and righteousness" are actually deprecated!  That any such ideas should ever have existed (says Lao-tse) is merely evidence of the universal disorder.

Taoist sectaries appear to assume that Perfection consists in the absence of any disturbance of the Stream of Nescience; and this is very much like the Buddhist idea of Nibbana.

We who accept the Law of Thelema, even should we concur in this doctrine theoretically, cannot admit that in practice the plan would work out; our aim is that our Nothing, ideally perfect as it is in itself, should enjoy itself through realizing itself in the fulfillment of all possibilities.  All such phenomena or "point-events" are equally "illusion"; Nothing is always Nothing; but the projection of Nothing on this screen of the phenomenal does not only explain, but constitutes, the Universe.  It is the only system which reconciles all the contradictions inherent in Thought, and in Experience; for in it "Reality" is "Illusion", "Free-will" is "Destiny", the "Self" is the "Not-Self"; and so for every puzzle of Philosophy.

Not too bad an analogy is an endless piece of string.  Like a driving band, you cannot tie a knot in it; all the complexities you can contrive are "Tom Fool" knots, and unravel at the proper touch.  Always either Naught or Two!  But every new re-arrangement throws further light on the possible tangles, that is, on the Nature of the String itself.  It is always "Nothing" when you pull it out; but becomes "Everything" as you play about with it,* since there is no limit to the combinations that you can form from it, save only in your imagination (where the whole thing belongs!) and that grows mightily with Experience.  It is accordingly well worth while to fulfill oneself in every conceivable manner.

It is then (you will say) impossible to "do wrong", since all phenomena are equally "Illusion" and the answer is always "Nothing."  In theory one can hardly deny this proposition; but in practice—how shall I put it?  "The state of Illusion which for convenience I call my present consciousness is such that the course of action A is more natural to me that the course of action B?"

Or: A is a shorter cut to Nothing; A is less likely to create internal conflict.

Will that serve?

Thus Spake Zarathustra, by Friedrich Nietzsche

ZARATHUSTRA'S PROLOGUE

1.

When Zarathustra was thirty years old, he left his home and the lake of his home, and went into the mountains. There he enjoyed his spirit and solitude, and for ten years did not weary of it. But at last his heart changed,—and rising one morning with the rosy dawn, he went before the sun, and spake thus unto it:

Thou great star! What would be thy happiness if thou hadst not those for whom thou shinest!

For ten years hast thou climbed hither unto my cave: thou wouldst have wearied of thy light and of the journey, had it not been for me, mine eagle, and my serpent.

But we awaited thee every morning, took from thee thine overflow and blessed thee for it.

Lo! I am weary of my wisdom, like the bee that hath gathered too much honey; I need hands outstretched to take it.

I would fain bestow and distribute, until the wise have once more become joyous in their folly, and the poor happy in their riches.

Therefore must I descend into the deep: as thou doest in the evening, when thou goest behind the sea, and givest light also to the nether-world, thou exuberant star!

Like thee must I GO DOWN, as men say, to whom I shall descend.

Bless me, then, thou tranquil eye, that canst behold even the greatest happiness without envy!

Bless the cup that is about to overflow, that the water may flow golden out of it, and carry everywhere the reflection of thy bliss!

Lo! This cup is again going to empty itself, and Zarathustra is again going to be a man.

Thus began Zarathustra's down-going.

2.

Zarathustra went down the mountain alone, no one meeting him. When he entered the forest, however, there suddenly stood before him an old man, who had left his holy cot to seek roots. And thus spake the old man to Zarathustra:

"No stranger to me is this wanderer: many years ago passed he by. Zarathustra he was called; but he hath altered.

Then thou carriedst thine ashes into the mountains: wilt thou now carry thy fire into the valleys? Fearest thou not the incendiary's doom?

Yea, I recognise Zarathustra. Pure is his eye, and no loathing lurketh about his mouth. Goeth he not along like a dancer?

Altered is Zarathustra; a child hath Zarathustra become; an awakened one is Zarathustra: what wilt thou do in the land of the sleepers?

As in the sea hast thou lived in solitude, and it hath borne thee up. Alas, wilt thou now go ashore? Alas, wilt thou again drag thy body thyself?"

Zarathustra answered: "I love mankind."

"Why," said the saint, "did I go into the forest and the desert? Was it not because I loved men far too well?

Now I love God: men, I do not love. Man is a thing too imperfect for me. Love to man would be fatal to me."

Zarathustra answered: "What spake I of love! I am bringing gifts unto men."

"Give them nothing," said the saint. "Take rather part of their load, and carry it along with them—that will be most agreeable unto them: if only it be agreeable unto thee!

If, however, thou wilt give unto them, give them no more than an alms, and let them also beg for it!"

"No," replied Zarathustra, "I give no alms. I am not poor enough for that."

The saint laughed at Zarathustra, and spake thus: "Then see to it that they accept thy treasures! They are distrustful of anchorites, and do not believe that we come with gifts.

The fall of our footsteps ringeth too hollow through their streets. And just as at night, when they are in bed and hear a man abroad long before sunrise, so they ask themselves concerning us: Where goeth the thief?

Go not to men, but stay in the forest! Go rather to the animals! Why not be like me—a bear amongst bears, a bird amongst birds?"

"And what doeth the saint in the forest?" asked Zarathustra.

The saint answered: "I make hymns and sing them; and in making hymns I laugh and weep and mumble: thus do I praise God.

With singing, weeping, laughing, and mumbling do I praise the God who is my God. But what dost thou bring us as a gift?"

When Zarathustra had heard these words, he bowed to the saint and said: "What should I have to give thee! Let me rather hurry hence lest I take aught away from thee!"—And thus they parted from one another, the old man and Zarathustra, laughing like schoolboys.

When Zarathustra was alone, however, he said to his heart: "Could it be possible! This old saint in the forest hath not yet heard of it, that GOD IS DEAD!"

3.

When Zarathustra arrived at the nearest town which adjoineth the forest, he found many people assembled in the market-place; for it had been announced that a rope-dancer would give a performance. And Zarathustra spake thus unto the people:

I TEACH YOU THE SUPERMAN. Man is something that is to be surpassed. What have ye done to surpass man?

All beings hitherto have created something beyond themselves: and ye want to be the ebb of that great tide, and would rather go back to the beast than surpass man?

What is the ape to man? A laughing-stock, a thing of shame. And just the same shall man be to the Superman: a laughing-stock, a thing of shame.

Ye have made your way from the worm to man, and much within you is still worm. Once were ye apes, and even yet man is more of an ape than any of the apes.

Even the wisest among you is only a disharmony and hybrid of plant and phantom. But do I bid you become phantoms or plants?

Lo, I teach you the Superman!

The Superman is the meaning of the earth. Let your will say: The Superman SHALL BE the meaning of the earth!

I conjure you, my brethren, REMAIN TRUE TO THE EARTH, and believe not those who speak unto you of superearthly hopes! Poisoners are they, whether they know it or not.

Despisers of life are they, decaying ones and poisoned ones themselves, of whom the earth is weary: so away with them!

Once blasphemy against God was the greatest blasphemy; but God died, and therewith also those blasphemers. To blaspheme the earth is now the dreadfulest sin, and to rate the heart of the unknowable higher than the meaning of the earth!

Once the soul looked contemptuously on the body, and then that contempt was the supreme thing:—the soul wished the body meagre, ghastly, and famished. Thus it thought to escape from the body and the earth.

Oh, that soul was itself meagre, ghastly, and famished; and cruelty was the delight of that soul!

But ye, also, my brethren, tell me: What doth your body say about your soul? Is your soul not poverty and pollution and wretched self-complacency?

Verily, a polluted stream is man. One must be a sea, to receive a polluted stream without becoming impure.

Lo, I teach you the Superman: he is that sea; in him can your great contempt be submerged.

What is the greatest thing ye can experience? It is the hour of great contempt. The hour in which even your happiness becometh loathsome unto you, and so also your reason and virtue.

The hour when ye say: "What good is my happiness! It is poverty and pollution and wretched self-complacency. But my happiness should justify existence itself!"

The hour when ye say: "What good is my reason! Doth it long for knowledge as the lion for his food? It is poverty and pollution and wretched self-complacency!"

The hour when ye say: "What good is my virtue! As yet it hath not made me passionate. How weary I am of my good and my bad! It is all poverty and pollution and wretched self-complacency!"

The hour when ye say: "What good is my justice! I do not see that I am fervour and fuel. The just, however, are fervour and fuel!"

The hour when ye say: "What good is my pity! Is not pity the cross on which he is nailed who loveth man? But my pity is not a crucifixion."

Have ye ever spoken thus? Have ye ever cried thus? Ah! would that I had heard you crying thus!

It is not your sin—it is your self-satisfaction that crieth unto heaven; your very sparingness in sin crieth unto heaven!

Where is the lightning to lick you with its tongue? Where is the frenzy with which ye should be inoculated?

Lo, I teach you the Superman: he is that lightning, he is that frenzy!—

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A Newcomer’s Review of Forge of Darkness by Steven Erikson

Review by Niall Alexander

Source: Tor.com

The first in a trilogy of three prequels, Forge of Darkness, purports to be a new beginning for the Malazan Book of the Fallen, but as ever with the work of Steven Erikson, it is not so simple—an assertion the cult Canadian novelist acknowledges at the outset:

“What I would speak of this morning is but the beginning of a tale. It is without borders, and its players are far from dead, and the story is far from finished. To make matters even worse, word by word I weave truth and untruths. I posit a goal to events, when such goals were not understood at the time, nor even considered. I am expected to offer a resolution, to ease the conscience of the listener, or earn a moment or two of false comfort, with the belief that proper sense is to be made of living. Just as in a tale.”

A tale such as this tale of tales. But where else are we to begin, if not at the beginning?

Even then, one can only wonder: which beginning? Because you could say the Malazan Book of the Fallen began in 1982, when a couple of archaeologists endeavoured, in their off-hours, to excavate a history of their own creation. They did this, according to long-standing anecdote, by playing Advanced Dungeons & Dragons.

So the story goes.

Several years into these sessions, their campaigns had become so complex—and so compelling in their eyes—that Steve Lundin and Ian Cameron Esslemont resolved to share them in some way with the wider world. Together, then, nearly a decade on from the fiction’s first informal flush, the friends collaborated on a film script. The movie would have been called Gardens of the Moon... if it had ever been made.

But it wasn’t. The co-written script didn’t sell and, if you’ll permit me a sidenote, perhaps that’s just as well. Given Erikson’s comments on the matter, Gardens of the Moon the movie would have played the affairs of this death-drenched empire in large part for laughs—an unconscionable thought, is it not?

Of course, the story was far from over, for soon after the screenplay’s failure, Lundin and Esslemont drew a line in the sand and went their separate ways with the canon they had fashioned. The latter author was to take his time developing his share of the saga while almost immediately the former composed a novel based on the ill-fated film script.

Still, it took another age for anything to materialise from this. Finally, in 1999, Bantam Books published Lundin’s first work of fantasy in the U.K., under the pseudonym most of us know him by today, with Tor Books following suit in the U.S. Gardens of the Moon garnered Steven Erikson a modest yet immodestly devoted following, and if not a win then a nomination for the prestigious World Fantasy Award. The book was seen as self-contained at the time, but soon it sparked a bidding war for further adventures in and of its empire. Thus, the Malazan Book of the Fallen series as we understand it was born.

Twelve years, nine additional novels, seven to ten thousand pages (depending upon your preference for paperbacks) and approximately three million words later, Erikson’s saga drew to a close with The Crippled God in 2011. The outspoken author lately allowed that he would die a happy man, knowing that the tale has been told to completion... however I’d really rather he hang on a little longer—not least because Forge of Darkness is, quite frankly, remarkable.

As aforementioned, it marks a new beginning for the Malazan Book of the Fallen—indeed the Malazan Empire entire—and Erikson has himself stressed that Forge of Darkness could and should be viewed as a jumping-on point for readers unfamiliar with the series. Readers like... me!

The New Revelation, by Arthur Conan Doyle

​Preface

Many more philosophic minds than mine have thought over the religious side of this subject and many more scientific brains have turned their attention to its phenomenal aspect. So far as I know, however, there has been no former attempt to show the exact relation of the one to the other. I feel that if I should succeed in making this a little more clear I shall have helped in what I regard as far the most important question with which the human race is concerned.

A celebrated Psychic, Mrs. Piper, uttered, in the year 1899 words which were recorded by Dr. Hodgson at the time. She was speaking in trance upon the future of spiritual religion, and she said: "In the next century this will be astonishingly perceptible to the minds of men. I will also make a statement which you will surely see verified. Before the clear revelation of spirit communication there will be a terrible war in different parts of the world. The entire world must be purified and cleansed before mortal can see, through his spiritual vision, his friends on this side and it will take just this line of action to bring about a state of perfection. Friend, kindly think of this." We have had "the terrible war in different parts of the world." The second half remains to be fulfilled.

A. C. D., 1918.

Chapter 1 begins below.​

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An Introduction to Yoga, by Annie Besant

Let us, first of all, ask ourselves, looking at the world around us, what it is that the history of the world signifies. When we read history, what does the history tell us? It seems to be a moving panorama of people and events, but it is really only a dance of shadows; the people are shadows, not realities, the kings and statesmen, the ministers and armies; and the eventsÄ the battles and revolutions, the rises and falls of states Äare the most shadowlike dance of all. Even if the historian tries to go deeper, if he deals with economic conditions, with social organisations, with the study of the tendencies of the currents of thought, even then he is in the midst of shadows, the illusory shadows cast by unseen realities. This world is full of forms that are illusory, and the values are all wrong, the proportions are out of focus. The things which a man of the world thinks valuable, a spiritual man must cast aside as worthless. The diamonds of the world, with their glare and glitter in the rays of the outside sun, are mere fragments of broken glass to the man of knowledge. The crown of the king, the sceptre of the emperor, the triumph of earthly power, are less than nothing to the man who has had one glimpse of the majesty of the Self. What is, then, real? What is truly valuable? Our answer will be very different from the answer given by the man of the world. "The universe exists for the sake of the Self." Not for what the outer world can give, not for control over the objects of desire, not for the sake even of beauty or pleasure, does the Great Architect plan and build His worlds. He has filled them with objects, beautiful and pleasure-giving. The great arch of the sky above, the mountains with snow-clad peaks, the valleys soft with verdure and fragrant with blossoms, the oceans with their vast depths, their surface now calm as a lake, now tossing in furyÄthey all exist, not for the objects themselves, but for their value to the Self. Not for themselves because they are anything in themselves but that the purpose of the Self may be served, and His manifestations made possible. The world, with all its beauty, its happiness and suffering, its joys and pains" is planned with the utmost ingenuity, in order that the powers of the Self may be shown forth in manifestation. From the fire-mist to the LOGOS, all exist for the sake of the Self. The lowest grain of dust, the mightiest deva in his heavenly regions, the plant that grows out of sight in the nook of a mountain, the star that shines aloft over us-all these exist in order that the fragments of the one Self, embodied in countless forms, may realize their own identity, and manifest the powers of the Self through the matter that envelops them. There is but one Self in the lowliest dust and the loftiest deva. "Mamamsaha"ÄMy portion,Ä" a portion of My Self," says Sri Krishna, are all these Jivatmas, all these living spirits. For them the universe exists; for them the sun shines, and the waves roll, and the winds blow, and the rain falls, that the Self may know Himself as manifested in matter, as embodied in the universe.

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Black Magic in Science

THOUSANDS of years ago the Phrygian Dactyls, the initiated priests, spoken of as the "magicians and exorcists of sickness," healed diseases by magnetic processes. It was claimed that they had obtained these curative powers from the powerful breath of Cybele, the many-breasted goddess, the daughter of Cœlus and Terra. Indeed, her genealogy and the myths attached to it show Cybele as the personification and type of the vital essence, whose source was located by the ancients between the Earth and the starry sky, and who was regarded as the very fons vitæ of all that lives and breathes. The mountain air being placed nearer to that fount fortifies health and prolongs man's existence; hence, Cybele's life, as an infant, is shown in her myth as having been preserved on a mountain. This was before that Magna and Bona Dea, the prolific Mater, became transformed into Ceres-Demeter, the patroness of the Eleusinian Mysteries.

Animal magnetism (now called Suggestion and Hypnotism) was the principal agent in theurgic mysteries as also in the Asclepieia--the healing temples of Æsculapius, where the patients once admitted were treated, during the process of "incubation," magnetically, during their sleep.

This creative and life-giving Force--denied and laughed at when named theurgic magic, accused for the last century of being principally based on superstition and fraud, whenever referred to as mesmerism--is now called Hypnotism, Charcotism, Suggestion, "psychology," and what not. But, whatever the expression chosen, it will ever be a loose one if used without a proper qualification. For when epitomized with all its collateral sciences--which are all sciences within the science--it will be found to contain possibilities the nature of which has never been even dreamt of by the oldest and most learned professors of the orthodox physical science. The latter, "authorities" so-called, are no better, indeed, than innocent bald infants, when brought face to face with the mysteries of antediluvian "mesmerism." As stated repeatedly before, the blossoms of magic, whether white or black, divine or infernal, spring all from one root. The "breath of Cybele"--Akâsa tattwa, in India--is the one chief agent, and it underlay the so-called "miracles" and "supernatural" phenomena in all ages, as in every clime. As the parent-root or essence is universal, so are its effects innumerable. Even the greatest adepts can hardly say where its possibilities must stop.

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Artists: Android Jones

Juna Akhara Naga Baby, by Android Jones

Juna Akhara Naga Baby, by Android Jones

Android Jones is at the forefront of the visionary art movement, a wave of artists who emphasize creativity as the foundation of consciousness and an agent of social change.

The rise of visionary art is a landmark event in the history of aesthetics and philosophy. It offers an alternative to the “postmodern” thinking that still preoccupies many scholars of the arts and humanities, despite a search for more practical alternatives.

In the conventional version of art history, postmodernism emerged as a reaction to modernism’s fascination with objective rationality, grand narratives, and universal principles. In place of these, postmodernism turned to cultural relativity and institutional critique. It opened the door for novel and minority perspectives, but truth became relative, and common foundations slipped away.

Visionary art is an alternative to the outdated notion of a secular, ironic postmodernism that still captivates the academic art world. “Performatism,” a word coined by German scholar Raoul Eshelman in his book “Performatism, or the End of Postmodernism,” provides an alternative frame. In contrast to critiques and fractures, performative works create their own lineages and perspectives. Instead of disrupting the existing world, they create new worlds and ways of seeing: performances in and of context.

Visionary art is a performative approach to the conscious construction of a sustainable, aesthetically inspired worldview. In opposition to secular irony, the art of Android Jones is spiritual, optimistic, and performative—which is to say it aims to do something, to introduce new symbolic frames and create ritualistic spaces wherein personal and collective identities can be consciously shaped and refashioned.

Android's art is based on a principle of creative exploration of potential--possible worlds, ways of knowing, states of being, forms of communication and communion--without searching for a final resting point. Creative decisions are seen as probes for further possibilities, rather than as all-consuming limitations that close possibilities down. He aims to impact the world through his creative practices by inspiring, empowering, and increasing the bandwidth of human potential.

Brother, Can You Spare a Paradigm (Parts 2 & 3)

On camera: technologist Greg Panos, Rev. Paul Nugent, Rev. George Regas, artist Fu-Ding Cheng, author Graham Hancock, biologist & author Rupert Sheldrake (sound-only for a few minutes), Josie Kelly-Holme, break period, singer Miranda Rondeau, physicist and author Russell Targ, clips from Suzanne Taylor's "What on Earth?," author Gary Bobroff, teacher & author Marianne Williamson, event producer Aggie Kobrin, performer In-Q, stage manager Scott Balanda, intuitive Joan Hangarter DC and teacher & author Daphne Rose Kingma. Original air date of live event: 4-14-13, 11 AM PDST.

*TED CANCELLED THE LICENSE FOR THIS EVENT, WHICH COULD NOT MOVE FORWARD UNDER ITS AUSPICE. THIS PROGRAM IS TOO GOOD TO NOT BE DELIVERED AND WE REGROUPED. AS WE HAVE LOST OUR TED-BASED SPONSORSHIP AND TICKET REVENUE ONLY WILL PAY SOME OF OUR BILLS, TAX-DEDUCTIBLE DONATIONS TO OUR NON-PROFIT ARE APPRECIATED.

READ THE STORY OF OUR CANCELLATION HERE: http://weilerpsiblog.wordpress.com/2013/03/30/ted-not-satisfied-with-current-censorship-tedxwesthollywood-is-taken-down

Brother, Can You Spare a Paradigm? (Part 1)

In this section: Suzanne Taylor, psi blogger Craig Weiler, producer Ed Lantz, comedienne Katie Goodman, educator Paul Cummins, author Larry Dossey MD, teacher Doug Heyes, architect Jim Favaro, nonprofit founder Tess Cacciatore, Amber Lanterns' poetess Laurel Airica and coloratura Elizabeth Agnese. Session break at about 2 hours and 30 minutes. Original air date of live event: 4-14-13, 11 AM PDST.

*TED CANCELLED THE LICENSE FOR THIS EVENT, WHICH COULD NOT MOVE FORWARD UNDER ITS AUSPICE. THIS PROGRAM IS TOO GOOD TO NOT BE DELIVERED AND WE REGROUPED. AS WE HAVE LOST OUR TED-BASED SPONSORSHIP AND TICKET REVENUE ONLY WILL PAY SOME OF OUR BILLS, TAX-DEDUCTIBLE DONATIONS TO OUR NON-PROFIT ARE APPRECIATED.

READ THE STORY OF OUR CANCELLATION HERE: http://weilerpsiblog.wordpress.com/2013/03/30/ted-not-satisfied-with-current-censorship-tedxwesthollywood-is-taken-down

Dear TED, Is It 'Bad Science' or a 'Game of Thrones'?

One of modern science's great strengths is that any questionable finding dies a quick death if it's invalid. The safeguards are mainly two: Your new finding must be repeatable when other researchers run the same experiments, and peer review by qualified scientists subjects every new finding to microscopic scrutiny. So it surprised the millions of admirers of TED, whose conferences attract wide attention to new, cutting-edge ideas, when that organization decided to practice semi-censorship.

The flap is over two videos of TEDx talks delivered in the UK in January that were summarily removed from TEDx's YouTube channel (TEDx is the brand name for conferences outside the main TED events that are allowed to use the TED trademark, such as TEDxBoston or TEDxBaghdad -- so far, about 5,000 such events have used the name). This amounts only to semi-censorship because the videos were reposted on TED's blog site. Yet the reputations of the two presenters, Rupert Sheldrake and Graham Hancock, were besmirched. In a letter to all the TEDx organizers, Chris Anderson, the head of TED, proposed certain "red flag" topics, among them health hoaxes and the medicinal value of food but also the general area of pseudoscience. The response has been decidedly negative -- scientists don't like the suppression of free thinking -- and among the thousands of comments aired on the Internet, one pointed out that Sheldrake and Hancock spoke at a TEDx conference explicitly dedicated to ideas that challenge mainstream thinking.

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Charles Willson Peale, painter of the American Revolution

Charles Willson Peale (1741–1827), self-portrait from c. 1782-85

Charles Willson Peale (1741–1827), self-portrait from c. 1782-85

Charles Willson Peale was an American painter, soldier and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, as well as establishing one of the first museums.

Peale was born on April 15, 1741 in Chester, Queen Anne’s County, Maryland, the son of Charles Peale and his wife Margaret. He was an older brother of James Peale (1749–1831). Charles became an apprentice to a saddle maker when he was thirteen years old. Upon reaching maturity, he opened his own saddle shop; however, when his Loyalist creditors discovered he had joined the Sons of Liberty, they conspired to bankrupt his business.

Finding that he had a talent for painting, especially portraiture, Peale studied for a time under John Hesselius and John Singleton Copley. John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland. There, he taught painting to his younger brother, James Peale, who in time also became a noted artist.

George Washington at the Battle of Princeton, 1781. Yale University Art Gallery

George Washington at the Battle of Princeton, 1781. Yale University Art Gallery

Peale’s enthusiasm for the nascent national government brought him to the capital, Philadelphia, in 1776, where he painted portraits of American notables and visitors from overseas. His estate, which is on the campus of La Salle University in Philadelphia, can still be visited. He also raised troops for the War of Independence and eventually gained the rank of captain in the Pennsylvania militia by 1777, having participated in several battles. While in the field, he continued to paint, doing miniature portraits of various officers in the Continental Army. He produced enlarged versions of these in later years. He served in the Pennsylvania state assembly in 1779–1780, after which he returned to painting full-time.

Peale was quite prolific as an artist. While he did portraits of scores of historic figures (such as James Varnum, Benjamin Franklin, John Hancock, Thomas Jefferson, and Alexander Hamilton), he is probably best known for his portraits of George Washington. The first time Washington ever sat for a portrait was with Peale in 1772, and there would be six other sittings; using these seven as models, Peale produced altogether close to 60 portraits of Washington. In January 2005, a full length portrait of “Washington at Princeton” from 1779 sold for $21.3 million dollars, setting a record for the highest price paid for an American portrait.

One of his most celebrated paintings is The Staircase Group (1795), a double portrait of his sons Raphaelle and Titian painted in the trompe l’oeil style.[1] It is in the collection of the Philadelphia Museum of Art.

Peale had a great interest in natural history, and organized the first U.S. scientific expedition in 1801. These two major interests combined in his founding of what became the Philadelphia Museum, and was later renamed the Peale Museum.

This museum is considered the first. It housed a diverse collection of botanical, biological, and archaeological specimens. Most notably, the museum contained a large variety of birds which Peale himself acquired, and it was the first to display North American mastodon bones (which in Peale’s time were referred to as mammoth bones; these common names were amended by Georges Cuvier in 1800, and his proposed usage is that employed today).

The Artist in His Museum (self-portrait, 1822) is displayed at the Pennsylvania Academy of the Fine Arts in Philadelphia.

The Artist in His Museum (self-portrait, 1822) is displayed at the Pennsylvania Academy of the Fine Arts in Philadelphia.

Graham Hancock on Good and Evil

Graham Hancock was recently interviewed by William Rowlandson Senior Lecturer in Hispanic Studies at the University of Kent. The interview focused on many different aspects of Graham's work but with particular emphasis on his recent ventures in fiction -- Entangled, published in 2010 and his forthcoming novel War God, about the Spanish Conquest of Mexico. In this extract from the longer interview Graham talks about the treatment of violence in his novels and about the struggle of good against evil. Are these real, primal forces or projections of our own minds and cultures? What do they have to teach us? Why dwell on them in works of fiction?

Seekers of Truth: Rupert Sheldrake

Rupert Sheldrake: the heretic at odds with scientific dogma
by Tim Adams
SOURCE: The Guardian

Rupert Sheldrake in Hampstead, north London. Photograph: Karen Robinson for the Observer

Rupert Sheldrake in Hampstead, north London. Photograph: Karen Robinson for the Observer

It is not often, in liberal north London, that you come face to face with a heretic, but Rupert Sheldrake has worn that mantle, pretty cheerfully, for 30 years now. Sitting in his book-lined study, overlooking Hampstead Heath, he appears a highly unlikely candidate for apostasy; he seems more like the Cambridge biochemistry don he once was, one of the brightest Darwinians of his generation, winner of the university botany prize, researcher at the Royal Society, Harvard scholar and fellow of Clare College.

All that, though, was before he was cast out into the wilderness. Sheldrake's untouchable status was conferred one morning in 1981 when, a couple of months after the publication of his first book, A New Science of Life, he woke up to read an editorial in the journal Nature, which announced to all right-thinking men and women that his was a "book for burning" and that Sheldrake was to be "condemned in exactly the language that the pope used to condemn Galileo, and for the same reason. It is heresy".

Note: The US edition of   The Science Delusion   was released under the less catchy title,  Science Set Free .Click this image to link to Amazon UK for the British edition.
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Note: The US edition of The Science Delusion was released under the less catchy title, Science Set Free. Click this image to link to Amazon UK for the British edition.
- aaa

For a pariah, Sheldrake is particularly affable. But still, looking back at that moment, he still betrays a certain sense of shock. "It was," he says, "exactly like a papal excommunication. From that moment on, I became a very dangerous person to know for scientists." That opinion has hardened over the years, as Sheldrake has continued to operate at the margins of his discipline, looking for phenomena that "conventional, materialist science" cannot explain and arguing for a more open-minded approach to scientific inquiry.

His new book, The Science Delusion, is a summation of this thinking, an attempt to address what he sees as the limitations and hubris of contemporary scientific thought. In particular, he takes aim at the "scientific dogmatism" that sets itself up as gospel. The chapters take some of the stonier commandments of contemporary science and make them into questions: "Are the laws of nature fixed?"; "Is matter unconscious?"; "Is nature purposeless?" "Are minds confined to brains?"

Sheldrake is a brilliant polemicist if nothing else and he skilfully marshals all the current thinking that undermines these tenets – from apparent telepathy in animals, to crystals having to "learn" how to grow, to some of the more fantastical notions of theoretical physics. On the morning I meet him, his book is sitting near the top of the science bestseller list on Amazon. It has also, unlike most of his previous work – Seven Experiments That Could Change the World, Dogs That Know When Their Owners Are Coming Home – been generally reviewed respectfully. Perhaps it is something in the air.