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Metafaculties: Shape Shifting

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  • Alix/PDW
    Okay, I am taking up a lot of space lately. Sue me. This is the post I MEANT to write before I was so irresistibly sidetracked by Niall and Oliver.   Here is
    Message 1 of 4 , Mar 7, 2009
      Okay, I am taking up a lot of space lately. Sue me. This is the post I MEANT to write before I was so irresistibly sidetracked by Niall and Oliver.
       
      Here is Uncle Rogi on shape shifting, in Chapter 22 of 'Diamond Mask':
      ... Shape-shifting (which isn't fully understood, involving as it does both "sender" and "receiver") ... [is] middling creative...
       
      There are plenty of examples of shape shifting in the Pliocene and Exile books, but consider this one from the 20th century news media:
        Many moons ago, sometime in the Sixties or Seventies, I think, there was a story in the press with proof of the supposed fraud involved in the traditional "Indian rope trick" practiced by Eastern fakirs. The fakir sat by a basket with a rope coiled in it, played on his Asian oboe, and the rope appeared to rise in  the air, upon which an assistant climbed the rope and appeared to vanish into thin air at the top (shades of the transporter cables at the Auberge!). Some enterprising fellow decided to get this all on camera, and of course turned up with absolutely nothing.
        What the press missed, totally, is this: The remarkable thing in this story is not that the camera saw one thing and the onlookers saw something else. The remarkable thing is that all the onlookers SAW THE SAME THING, and this, in a nutshell, is what shape shifting is.
        There is a less mystical, because more familiar, parallel in live theater that explains a bit more about sender and receiver: the actor and the audience, and the "willing suspension of disbelief". The Huna practitioner and writer Serge Kahili King likes to cite as theatrical example Zero Mostel in his signature dramatic role in 'Rhinceros'. One reviewer at the time commented about the performance that Mostel "was not portraying a rhinoceros, he WAS a rhinoceros." Shape shifting is at least as old as the oldest totemic religions, and we still haven't the foggiest how it works, but we know that it does. One is tempted to invoke Jung.
        JM's best developed example of bareknuckle shapeshifting is the attempt on Diamond's life in the Spouting Horn incident in 'Magnificat'. Parnell and Madeleine are not in Hydra concert here, but convincing a Paramount metapsychic to risk her life to save a little boy that exists only as a shape shifting illusion.
       
        The point, once more, is that the metafaculties, the phenomena explored in today's university parapsychology labs, are real aspects of human nature, and there is much to learn from them. The images may also be summoned up out of one's own subconscious, and, when you get right down to it, is Dorothy's angel any more preposterous than Willaim Blake's? Or that far different from the talking burning bush of the Old Testament? You fill in the blanks.
       
      alix
       
       
       
       

    • marcelplume
      The Angel was Unifex. He stopped her from becoming a target for Fury early in her life. Or am I wrong? LOL
      Message 2 of 4 , Mar 7, 2009
        The Angel was Unifex. He stopped her from becoming a target for Fury early in her life.

        Or am I wrong? LOL



        --- In Julian-May-discuss@yahoogroups.com, Alix/PDW <alixnc@...> wrote:
        >
        > Okay, I am taking up a lot of space lately. Sue me. This is the post I MEANT to write before I was so irresistibly sidetracked by Niall and Oliver.
        >  
        > Here is Uncle Rogi on shape shifting, in Chapter 22 of 'Diamond Mask':
        > ... Shape-shifting (which isn't fully understood, involving as it does both "sender" and "receiver") ... [is] middling creative...
        >  
        > There are plenty of examples of shape shifting in the Pliocene and Exile books, but consider this one from the 20th century news media:
        >   Many moons ago, sometime in the Sixties or Seventies, I think, there was a story in the press with proof of the supposed fraud involved in the traditional "Indian rope trick" practiced by Eastern fakirs. The fakir sat by a basket with a rope coiled in it, played on his Asian oboe, and the rope appeared to rise in  the air, upon which an assistant climbed the rope and appeared to vanish into thin air at the top (shades of the transporter cables at the Auberge!). Some enterprising fellow decided to get this all on camera, and of course turned up with absolutely nothing.
        >   What the press missed, totally, is this: The remarkable thing in this story is not that the camera saw one thing and the onlookers saw something else. The remarkable thing is that all the onlookers SAW THE SAME THING, and this, in a nutshell, is what shape shifting is.
        >   There is a less mystical, because more familiar, parallel in live theater that explains a bit more about sender and receiver: the actor and the audience, and the "willing suspension of disbelief". The Huna practitioner and writer Serge Kahili King likes to cite as theatrical example Zero Mostel in his signature dramatic role in 'Rhinceros'. One reviewer at the time commented about the performance that Mostel "was not portraying a rhinoceros, he WAS a rhinoceros." Shape shifting is at least as old as the oldest totemic religions, and we still haven't the foggiest how it works, but we know that it does. One is tempted to invoke Jung.
        >   JM's best developed example of bareknuckle shapeshifting is the attempt on Diamond's life in the Spouting Horn incident in 'Magnificat'. Parnell and Madeleine are not in Hydra concert here, but convincing a Paramount metapsychic to risk her life to save a little boy that exists only as a shape shifting illusion.
        >  
        >   The point, once more, is that the metafaculties, the phenomena explored in today's university parapsychology labs, are real aspects of human nature, and there is much to learn from them. The images may also be summoned up out of one's own subconscious, and, when you get right down to it, is Dorothy's angel any more preposterous than Willaim Blake's? Or that far different from the talking burning bush of the Old Testament? You fill in the blanks.
        >  
        > alix
        >  
        >  
        >  
        >  
        >
      • alixnc
        ... Yes and no. The angel was a preprogrammed response (im Dorothy s perception, an informing persona) implanted by Unifex in his Ewen Cameron incarnation.
        Message 3 of 4 , Mar 7, 2009
          --- In Julian-May-discuss@yahoogroups.com, "marcelplume" <marcelplume@...> wrote:
          >
          > The Angel was Unifex. He stopped her from becoming a target for Fury early in her life.
          >
          > Or am I wrong? LOL

          Yes and no. The angel was a "preprogrammed response" (im Dorothy's perception, an informing persona) implanted by Unifex in his Ewen Cameron incarnation. Again, one is tempted to look to Jung, because this sounds very much like a function of the collective unconscious, or somewhere thereabouts. I REFUSE to be drawn into a discussion of the angel lurking in the sexternion.
        • angeloftheabyss@sbcglobal.net
          An angel by any other name... I see it as more than a little ironic that Marc/exangeloftheabyss/unifex would choose that representation (mandala) to help the
          Message 4 of 4 , Mar 7, 2009
            An angel by any other name...
            I see it as more than a little ironic that Marc/exangeloftheabyss/unifex would choose that representation (mandala) to help the young Diamond unlock her latent metabilities into operancy to then become his younger antithesis.
            Marc the younger (post rebellion)was profoundly affected (I think) by the outcome of the rebellion as evidenced by his character in the Grand Tourney: Jack Diamond. It takes a major impression to last for six million years and countless civilations.

            I like to ponder the possibilities offered when Unifex (who is a hopeless meddeler in the human ascent into operency) meets an unwashed and on-the-run outcast Egyptian royal adoptee...




            --- In Julian-May-discuss@yahoogroups.com, "alixnc" <alixnc@...> wrote:
            >
            > --- In Julian-May-discuss@yahoogroups.com, "marcelplume" <marcelplume@> wrote:
            > >
            > > The Angel was Unifex. He stopped her from becoming a target for Fury early in her life.
            > >
            > > Or am I wrong? LOL
            >
            > Yes and no. The angel was a "preprogrammed response" (im Dorothy's perception, an informing persona) implanted by Unifex in his Ewen Cameron incarnation. Again, one is tempted to look to Jung, because this sounds very much like a function of the collective unconscious, or somewhere thereabouts. I REFUSE to be drawn into a discussion of the angel lurking in the sexternion.
            >
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