Sorceries of Zos by Austin O Spare: Difference between revisions
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"Dali's objects are reflected in the fluid and ever-shifting luminosity of the Astral Light. They resolve themselves and melt continually into the 'next step',19 the next phase of consciousness expanding into the further image of Becoming." | "Dali's objects are reflected in the fluid and ever-shifting luminosity of the Astral Light. They resolve themselves and melt continually into the 'next step',19 the next phase of consciousness expanding into the further image of Becoming." | ||
"Spare had already succeeded in isolating and concentrating desire in a symbol which became sentient and therefore potentially creative through the lightnings of the magnetized will. Dali, it seems, has taken the process a step further. His formula of 'paranoiac-critical activity' is a development of the primal (African) concept of the fetish, and it is instructive to compare Spare's theory of 'visualized sensation' with Dali's definition of painting as 'hand don colour photography of concret irrationality'. Sensation is essentially irrational, and its delineation in graphic form ('hand done colour photography') is identical with Spare's method of 'visualized sensation'." | "Spare had already succeeded in isolating and concentrating desire in a symbol which became sentient and therefore potentially creative through the lightnings of the magnetized will. Dali, it seems, has taken the process a step further. His formula of 'paranoiac-critical activity' is a development of the primal (African) concept of the fetish, and it is instructive to compare Spare's theory of 'visualized sensation' with Dali's definition of painting as ''''hand don colour photography of concret irrationality'.''' Sensation is essentially irrational, and its delineation in graphic form ('hand done colour photography') is identical with Spare's method of 'visualized sensation'." | ||
Revision as of 15:59, 26 March 2015
"It has been suggested by some authorities that the original witches sprang from a race of Mongol origin of which the Lapps are the sole surviving remnants. This may or may not be so, but these 'mongols' were not human. They were degenerate survivals of a pre-human phase of our planet's history generally- though mistakenly- classified as Atlantean. The characteristic that distinguished them from the others of their kind was the ability to project consciousness into animal forms, and the power they possessed of reifying thought-forms. The bestiaries of all the races of the earth are littered with the results of their sorceries."
Cult of the _______
Our Sacred Book : The Book of Pleasure. Our Path : The eclectic path between ecstasies; the precarious funambulatory way.
Our Deity : The All-Prevailing Woman.
And I strayed with her, into the path direct
Our Creed : The Living Flesh. (Zos):
Again I say : This is your great moment of
reality- the living flesh'
Our Sacrament : The Sacred Inbetweenness Concepts.
Our Word : Does Not Matter-Need Not Be.
Our Eternal Abode : The mystic state of Neither-Neither.
The Atomospheric 'I'. (Kia).
Our Law : To Trespass all Laws.
"One of the foremost magicians of our time- Salvador Dali- developed a system of magical reification at about the same time that Crowley and Spare were elaborating their doctrines. Dali's system of 'paranoiac-critical activity' evokes echoes of resurgent atavisms that are reflected into the concrete world of images..."
"Dali's objects are reflected in the fluid and ever-shifting luminosity of the Astral Light. They resolve themselves and melt continually into the 'next step',19 the next phase of consciousness expanding into the further image of Becoming."
"Spare had already succeeded in isolating and concentrating desire in a symbol which became sentient and therefore potentially creative through the lightnings of the magnetized will. Dali, it seems, has taken the process a step further. His formula of 'paranoiac-critical activity' is a development of the primal (African) concept of the fetish, and it is instructive to compare Spare's theory of 'visualized sensation' with Dali's definition of painting as 'hand don colour photography of concret irrationality'. Sensation is essentially irrational, and its delineation in graphic form ('hand done colour photography') is identical with Spare's method of 'visualized sensation'."