Monday, 4 June 2007

Pirates of the Constitution...


Consider the above illustration, which compliments the maritime and piratical themes of our Greenwich investigation- begun last time. (See the first slice for more.)

I love the emerging tentacles, which achieve a genuinely unnerving effect. Of course, there has always been something truly terrifying about the otherness of octopi, which feeds into our phylogenetic fears of monsters from the deep. (And this, on the same day as claims of a new sighting of Nessie, that suspected plesiosaur of the Highlands.)

And octopi, for this reason and others, have long been favoured as items of occult fetish; by 'secret' societies in particular. The fearful elasticity of the porous brain, obscured beneath the waves- is as good a mnemonic for the hidden centre as any master strategist could hope to find. No wonder it was used as a symbol by ORMUS, the Priory of Sion; and is regularly employed to illustrate the fears of a Zionist conspiracy by Pan-Arabists and patriots alike. That we should see the arms of an octopus encoiling the White Horse in its leathery grip, is perhaps not too far off being the truth; ironic, then, that it should appear in the pages of MAD Magazine, which brough Yiddish toilet humour to a global audience.(1)






(In addition, the Octopus was the name coined by journalist Danny Casolaro for perhaps the most grandiloquent conspiracy narrative of them all: ensnaring the Iran Contra scandal, the failure of the BCCI, the bombing of Pan Am 103 and many other seemingly disparate phenomena, including the octopi-resonating October Surprise.)

But the real monsters of the deep are found not in the alien waterworld of some deep sea bed, nor in the pages of Melville or Verne, but in the far greater caverns of the human mind. These are the spirits of the past- the memory of every repressed trauma of history: upon which occultists have imposed names and form, and address as demons. Embodied as the dinosaurs and the Watchers, returning as the Quinotaur who spawned a race of kings, it was they whose path Casalaro crossed, at the Cabazon Indian Reservation, where his lust for the Octopus was fired. Their spirits haunt that dry land still, so alike to the name of Chorozon, their voice echoing in the canyons as a holler from the dust.


The Cabazon Dinosaurs by Claude K Bell


From the depths they spoke through Lovecraft, in whose feverish visions of Cthulu they were known as Dagon; whose call Seung Hui-Cho heard when he swung his ISMAIL AX. (Cho had sold books by Lovecraft on an internet site affiliated to E-Bay.) Is it they whose tentacles surface from the deep, to conjure their bloody spell upon the White House?

The theme is found in numberless works of art. It is the grand arch of Dylan's Desolation Row, in which the moon- the Goddess- is almost hidden, where praises are sung to Nero's Neptune, and the Phantom of the Opera assumes the likeness of a priest. And Leroux's Phantom is a revision of La Belle et La Bete, another tale about man's fatal addiction to the daimonic; as well as the title of a song by Peter Doherty, whose life follows the template to a tee. And the process is eminently worthy of art, because it is not without a monstrous beauty: a quality never so well expressed as in Hokusai's nineteenth century woodcut.


It is this willowy beauty- and eroticism- which is at the fore of perhaps the most famous rendition of the ancient tale: Nosferatu, Vlad Draculea, proud member of the Order of the D(r)agon. The relationship between the vampire, and the prey who grows to love him, is a perfect illustration of psychic seduction exacted against an individual. Goth culture- with its trappings drawn from Romanticism- could be seen as the collective celebration of this intoxication, along with its grown-up cousin: the world of S&M.

For, amongst the behavioural patterns which entrain a contact with the underworld, a fascination with ritual is perhaps the most obvious; and ritualised sex in particular. And interestingly, in the last few years, the magical-occult uniform of S&M, with its obvious similarities to items worn by Nazis, have been incorporated into corporate life; to the extent that its aesthetic now largely determines the socially-approved image of the ambitious, ball-breaking female.

Interesting, then, that the first breaths of the modern gothic movement were taken in the 1980s, shortly after the publication of Simon's Necronomicon, a how-to manual for opening the abyss. And that the Necronomicon- indebted to Lovecraft- should also lean so heavily on another man's work, the prima magister himself: Mr Crowley. In that regard, observe the squid's resemblance in the Hokusai woodcut, to the elongated skull of the Wizard of Oz, whom researcher Synkronos23 has connected to Crowley's praeternatural interlocutor LAM: himself a prototype for the ubiquitous Greys. We should perhaps add that the Oz series, written by Theosophist Frank Baum, may well refer to the Egyptian Osiris, who- as Aiwass- dictated Crowley's Book of the Law (Liber AL) through his wife, the appropriately-named Rose.

We further observe the Death's Head- the Jolly Roger- flying from the White House roof: the symbol adopted by the fleet of the former Knight's Templar, some of whom turned to piracy following the Order's dissolution. Since those times, it has been closely associated with Templarism's offshoot, Freemasonry, and various neo-masonic groups such as Yale's Brotherhood of Death, before being taken up with great enthusiasm by the SS. This is very appropriate because the principle insignia of Nazism, the swastika, is a form of the Star of David: and both Templarism and Masonry can be traced back to Judaism, and the myths of Solomon's Temple. Moreover, according to author Nicholas de Vere, the skull and bones is- 'in a precise hermetic sense'- equal and identical to the Davidic hexagram, which is a pictogram of the alchemical union of Fire and Water, the interlocking triangles. In the case of the Death Head, the skull depicts the male principle representing the pineal gland, and the crossed bones the womb and urethra, the feminine. Thus, in an esoteric sense at least, when the White House flies the Jolly Roger it is flying none other than the flag of the (Zionist) Octopus itself.



4 comments:

FilmNoir23 said...

Man, you work so much info into such a small space. This was perhaps one of my favorite articles you've written. Partly because it resonates so much with my youth, and things that still intrigue me to this very day.

BTB said...

I appreciate your comment, Todd, thanks.

Anonymous said...

'...alchemical union of fire and water..'

The twin pillars of Boaz and Joachim were said to contain secrets of previous ages. One being made of marble and the other brick, they could withstand the forces of fire and water.

Boaz - spirally fluted - Solomon's right-hand column representative of growth and the waxing Sun.

Joachim - vertically fluted - Solomon's left-hand column representative of decay and the waning Sun.

Growth/decay, waxing/waning......knowledge of create/destroy cycle ????

hoi polloi said...

I read somewhere that Lovecraft's writings were inspired by events in his own life, dreams and encounters he actually experienced. I haven't read him yet but I find the Cthlhu character very interesting!

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