The Golden Compasses: William Blake and Freemasonry

The Single Eye, the Dividers, and the Pyramid: Understanding the God of This World 

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Introduction

Blake has always attracted those who are interested in the esoteric, the occult, and the deeper or more spiritual systems of thought. In his own time (1757-1827), Freemasonry was one of the most prominent and progressive of these systems – its members included Goethe, Mozart, Voltaire, and many of the key architects of the American and French revolutions (Benjamin Franklin, George Washington; Lafayette, Marat, Danton, and Robespierre), which have therefore often been seen as essentially Masonic projects. 

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Blake and the Tree of Good and Evil, by Erik McCarthy

Going Beyond Good & Evil: Restoring Eden in the Brain 

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Introduction: Blake’s Laocoön and the serpents of Morality 

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The original Laocoön. In Blake’s reading, the serpents overcoming the priest represent the twin Powers or programs of “Good” and “Evil”, which eventually suffocate him, and his vision of God.

The question, and questioning, of morality, is central to one of Blake’s most iconic and futuristic images, the Laocoön. Even though Blake’s best-known works often combine image and text in a single plate, the Laocoön stands apart as the only one to be centered around a faithful copy of a piece of antique sculpture, a fact which attests to its hold on his imagination.

Another arresting feature of the plate is the atypical density of its textual matter, composed in at least two distinct scripts and three different languages, and the seemingly arbitrary, discontinuous manner of its arrangement on the page. Julia Wright observes, “the design recalls a jigsaw puzzle more than a page from an emblem book, graffiti more than an engraving, and marginal annotations more than aphorisms on art” . 

It resembles no other work by Blake, and he left no instructions on how his wide-ranging statements should be organized, or in what order they should be read. Without an obvious starting point, one could try a conventional approach, beginning with the first line of horizontal text at the top of the page: “Where any view of Money exists Art cannot be carried on but War only”; but then one could just as well start at the bottom, with the caption identifying the three figures as “הי & his two sons Satan & Adam.” Either way, the reader is sure not to get far before having to stop and decide where to begin again; and from there one choice seems as good as another.

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Narcissus 2.0: Left Brain Technology and Civilisation, by Marshall McLuhan

How the phonetic alphabet drove the Fall into Division

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 Marshall McLuhan’s Understanding Media: The Extensions of Man is widely considered to be “the most important book ever written on communication,” and is famous for introducing the concepts of the “global village” and “the medium is the message”. But it’s really much more than even that – it’s a wholesale critique of how technology, from the radical development of the phonetic alphabet by mercantile and bureaucratic Phoenician traders in the 7th-8th century BC (“by Phoenician business men”), to the dramatic impact of the Gutenberg printing press in the 15th century, and the even greater impacts and consequences of radio, television, and the internet (by modern “business men”) in the 20th-21st centuries, has radically changed our way of being, our way of thinking, our way of relating, and even our way of feeling, remaking our very bodies – as he observes in this compelling article – in its own image.

McLuhan’s arguments are remarkable, not only for their own acute perceptions and analysis of the nature of media, and his striking framing of this development in terms of the left and right hemispheres, but also for the light they shine on Blake’s in many ways similar and equally radical critique of what is often called “civilisation”. McLuhan frequently references Blake, as someone who he felt recognised these changes and cognitive shifts and really understood the nature of “media”. As he acutely observes, Blake saw Newton and Locke and others as hyponitized Narcissus types quite unable to meet the challenge of mechanism.

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Blake and the Zodiac, by Rod Tweedy

Here Comes the Sun King: Forging the Template of Solar Consciousness

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Introduction: The Forms and the Archetypes of Being

There’s a fascinating tradition of thought that links early formulations of the twelve aspects or ‘faces’ of the Zodiac with Plato’s esoteric theory of the Forms, the fundamental geometries and patterns which generate our world, and which casts an intriguing light on the original meaning of the Zodiacal Signs and their significance.

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William Blake and The Body of Vision, by Rosalind Atkinson

Vision and De-Vision: Sexuality, Slavery, and the Fall of Perception

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Introduction to William Blake’s Visions of the Daughters of Albion

This essay examines how almost the entire critical discussion of Blake’s Visions of the Daughters of Albion enacts the exact dynamics (which we could anachronistically label ‘rape culture’) that the poem itself dramatises in order to dissect. I hope it can be of interest beyond Blake enthusiasts to anyone wanting to understand if being interested in ‘how we perceive’ affects our political and social ideas and positions, and to anyone interested in how dualistic ways of seeing (encompassing transcendence and materialism equally) abuse our bodies and the world.

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William Blake on Self and Soul, by Laura Quinney

William Blake and the illusion of Selfhood

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Introduction: Blake the Radical Psychologist

It has always been clear that William Blake was both a political radical and a radical psychologist. The most illuminating interpretations of Blake— by Northrop Frye, Harold Bloom, Brian Wilkie, and Mary Lynn Johnson, to name a few— emphasize his subtlety and innovation in the understanding of human psychology.

This article addresses what Blake said about a specific aspect of psychology— a reflexive aspect, deeper and stranger in itself than thought and feeling— the subject’s experience of its own interiority. What is the self’s relation to itself?

Blake thought that under certain conditions, it was bound to be anxious and lonely. That is, he thought that if the self is identified with the main consciousness or “I,” especially the “I” as a center of rationality, it will feel solitary and insecure.

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Creative Imagination and Mystical Experience in the Sufism of Ibn ‘Arabî, by Henry Corbin

God as Imagination: the Image and the Imaginer in the Sufism of Ibn ‘Arabî

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Introduction: Ibn ‘Arabî and Islamic mysticism

Screen Shot 2021-04-21 at 12.13.24According to Professor Henry Corbin, one of the 20th century’s most prolific scholars of Islamic mysticism, Ibn ‘Arabî (1165–1240) was “a spiritual genius who was not only one of the greatest masters of Sufism in Islam, but also one of the great mystics of all time.”

Imagination (khayâl), as Corbin has shown, plays a major role in Ibn ‘Arabî’s writings. In the Openings, for example, he says about it, “After the knowledge of the divine names and of self-disclosure and its all-pervadingness, no pillar of knowledge is more complete”.

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William Blake, Nick Cave, and the Origins of Creativity

Nick Cave on William Blake: Where does Creativity come from? 

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The Australian musician and songwriter Nick Cave, responding on his website ‘The Red Hand Files‘ to the question ‘How do you know when you have written something worthwhile? What is your process?’, remarks that Blake’s insights into the nature of Imagination and the imaginative process were key to him in this:

In Issue #87 I wrote about my favourite line from the New Testament: ‘Mary Magdalene and the other Mary remained standing there in front of the tomb.’ To me, this line seems to sum up, among other things, the process of songwriting. William Blake said ‘Jesus is the imagination’ and these words have always resonated with me. They have bound together the notion of Jesus and the creative act, and lifted it into the supernatural sphere.

The moment of the cave.

This is a surely a fascinating observation, and connection. Why particularly that line from the Bible, that stood out for him so much, amid so many other striking lines? What was it about the image of the tomb, or the sense of both the possibility of emptiness and of emergence, the moment of waiting or expectation, that so resonated with him?  Was it some sort of analogy between the resurrected tomb and the cave of creativity, of ‘Imagination’? Thankfully, Cave himself provided some further illumination:

A large part of the process of songwriting is spent waiting in a state of attention before the unknown. We stand in vigil, waiting for Jesus to emerge from the tomb — the divine idea, the beautiful idea — and reveal Himself.

Cave’s sense that there is something ‘transcendent’ about our creative moments and experiences is very striking, and very unexpected in our commercialised, cynical, post-modern age. And also unexpected in an artist not writing from any orthodox religious perspective (“I’m not religious, and I’m not a Christian,” he once remarked, “but I do reserve the right to believe in the possibility of a god.”) Cave is aware that there is something profoundly strange about creativity, something mysterious (or “supernatural” as he puts it) about the process by which songs, and images, and poetry, emerge out of, apparently, thin air. Cave suggests that Blake is right to connect them not to material or mundane processes in this world but to something altogether deeper and more mysterious.

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FEARFUL SYMMETRY: William Blake and Sacred Geometry, by Rod Tweedy

The Human Form Divine: Sacred geometry and its relationship to our physiology

 

Section 1: The Nature of Sacred Geometry

Measuring Urizen: The geometry of geometry

This first section explores what is meant by “sacred geometry”, studying and measuring its terms in relation to the study of physiology, the ‘science of life’. It therefore provides a sort of “geometry of geometry”. This seems apposite: the very idea of measuring is after all embedded in the word “geometry”, which comes from the ancient Greek words Geos, meaning “Earth”, and Metron, meaning “to measure”. The act or assumption of measurement is therefore contained within the system that is used to measure reality. Urizen thereby inscribes itself in the very utensils it uses to explore the deep: as Neil Postman acutely observed, “within every technology there is embedded an ideology” (Technopoly: The Surrender of Culture to Technology). These sorts of isomorphic (or “fractal”) repetitions and self-reflections constitute one of the defining characteristics of sacred geometry.

Sacred geometry is usually understood as the science and study of the fundamental patterns, shapes, forms, proportions, and ratios that constitute the basic nature of physical, physiological, and psychological reality. In ancient traditions, these geometries were considered ‘sacred’ because they recurred with such remarkable frequency and on so many different levels, thereby seeming to suggest a ‘hidden order’ to the world. As Skinner notes, “geometry and numbers are sacred because they codify the hidden order behind creation”. As such, they were sometimes considered to reveal the “mind” of God: as Galileo succinctly put it, “Mathematics is the alphabet with which God has written the universe.”

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The 40 Rules of Love, by Shams Tabrizi – Part 3

Seeing with the Heart

Shams of Tabriz was a Persian Sufi and roaming dervish who lived at the end of the twelfth/ early thirteenth century. He was the spiritual teacher and advisor of Rumi, and indeed it’s often said that Rumi was a professor who Shams transformed into a mystic, a lover, and a poet. They spent months together, lost in a kind of ecstatic mystical communion known as “sobhet” — conversing and gazing at each other until a deeper conversation occurred without words. There are many legends describing their meeting in Konya: Rumi was taught by Shams in seclusion for 40 days, and the period after this is described as Rumi’s ‘mysticism’, where sufis danced, played music (rabab), and drank wine. It is in this time, that the concept of “whirling dervishes” originated.

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