Posted by: 94stranger | May 8, 2008

Philosophical Haiku 3

I produced this for another blog, and liked it so much I decided to do a separate post for the (doubtless very occasional) philosophical haiku I might happen to come up with.

God said: ‘let there be

light!’ Elephant wept. God said

quickly: ‘And heavy!’

____________________________________

GARDEN PATHS (1)

What do woodlice do?

don’t know - can’t judge; better be

woodlouse than person. 

__________________________________

GARDEN PATHS (2)

‘WE BECOME WHAT WE THINK’

we think what we be-
come: so imagine the long
pink thoughts of earthworms

 

 

Tags:

Posted by: 94stranger | May 8, 2008

Image: The unicorn carthorse

I was fooling around typing various words into google image search, and under ‘unicorn carthorse’ was annoyed to see a picture of my avatar in the top slot, but no sign of the Rainbearer himself. So I decided to try and remedy this by uploading the image itself, rather than a link to it, and having done so I guess I should write something about it.

The figure perched on top of the horse is Rain, who represents harmony, or better sympathy (in the old sense) in the Unconscious. The device on his shield is the reversable loop - as I call it - because you can, without stopping, begin in either direction, pass to the opposite direction and then back again. With a single figure-of-eight, this doesn’t work.

The unicorn carthorse, aka Rainbearer, is standing on a cricket pitch, and is in fact in the process of trampling the stumps - those pieces of wood - which must be correctly in place for the game to be played. The unicorn carthorse is, in short, a spoil-sport. This means that he refuses to play by the rules of the establishment: in this case the cricketing establishment.

This attitude sits well with that of his rider, who seems intent on attacking, with his cricket bat, the person riding the not-bull. This person, with the air of an English farmer, is in fact John Bull, which according to Merriam-Webster online refers to ‘the English nation personified’ or ‘a typical Englishman’ - the English everyman, if you like. No Bull ought to mean the absence of bull, baloney, fakery etc, but it is complicated by having another meaning. This second one refers to the whole Zen culture and all spin offs, where the goal of human existence appears to be to disappear up one’s own rear end - otherwise known as ‘enlightenment’ - a devious little male-side manoeuvre of which I have written elsewhere. So, the unicorn carthorse is apparently carrying his rider into battle against all that - whatever exactly that is…

There are other things in this image too. I wanted to set a puzzle here involving old cartoon images, but half an hour’s search on the web by me knowing what I’m looking for has proved fruitless, so what chance do you have? Instead, I’ll do further research and hopefully let you have the results.


This is a very simple piece, done I assume by country people, I imagine in Peru or Bolivia, depicting their way of life and executed in a naive and rustic style. (Of course, I suppose it’s equally possible that such pieces are turned out in their thousands by child slave labour in the sweat-shops of Lima to designs produced by ruthless capitalists intending to milk ignorant westerners of their last nuevo sol [kudos please for googling the peruvian currency] - but for obvious reasons, I prefer my first supposition.)

I bought this from a local emporium that defies all the rules of commerce by a) never seeming to have anything to sell, b) opening only very erratically, c) having no clearly discernable line of merchandise. As I can’t for the life of me imagine how they can possibly make any money, or even pay the rent, if indeed the shop is not theirs, I can only suppose that for the two ladies, one or other of whom can always be found on the premises, it must be a hobby - though they hardly look the part. At any event, there are items in this shop that have been stuck in exactly the same place for years, and short of an earthquake or tidal wave, seem set to continue to do so.

Which just goes to show, I suppose, that in retail, just about anything is possible. I have never seen anything like this on offer in this shop either before or since, so all I can say is that perhaps this too was waiting for me. I hope you enjoy it.

  

 

Posted by: 94stranger | May 7, 2008

Authenticity: a small homage

I would like to give a link here to a recent post by Kalliope Amorphous, and the poems I wrote in response.

This is not the first, or even the second time that Kalliope has moved me to poetry. So I asked myself why, and the only answer I could come up with was the word authenticity. But enough - judge for yourself

http://musecatcher.com/2008/05/06/compulsive-creativity-disorder/#comment-680

KALLIOPE: TWO WAYS TO SPIN

God created light, then

watched Kalli spin: ‘close your eyes;

rest in my darkness.’

———————————————-

She is the spider spinning
fibres of light;
weaving a coat of colours,
keeping away the night.
Carry her off
to an enchanted island
where there is no more scheming;
only the marks of dreaming
in the sand.

 

Posted by: 94stranger | May 6, 2008

Sound Haiku

Those who are familiar with my haiku output may well have noticed that it tends to be very largely visual. I’ve decided to remedy this by branching out a little. This post will be for ear haiku

Bus’s heavy purr;

two horn blasts like hunt; engine

vibration rumble.

Posted by: 94stranger | May 4, 2008

Haiku 31

I’ve decided to refresh the haiku series by transfering it to a new post. Here’s the starter, already posted on red ravine http://redravine.wordpress.com/2008/01/15/haiku-one-a-day/

English Channel in

mist; soft rain on Florida

miniature golf course. 

_____________________________________

21/4/08

overcast sky; sultry

grey sea behind young black girl

in white bobble hat

__________________________________

This is from QuoinMonkey’s intro to haiku on redravine:

 

Near the end of Seeds from a Birch Tree, (Clark) Strand speaks of Basho’s greatest work, The Narrow Road to the Deep North:

‘Haiku, in many ways the most outward, most concrete, and most perpetually grounded form of poetry, is also the most inward. It requires a lot of inner work.

Basho titled his greatest work Oku no Hosomichi (The Narrow Road to the Deep North). Basho traveled a long way north on a journey with his student and fellow poet Sora and kept a diary of his travels. The diary contains some of his most famous haiku.

The way north is the way within. This kind of understanding comes when we realize that in looking out, we are also looking in. We learn it by looking carefully at the world.’

 

This insight which links north to within definitely resonates with me. In my Rainring cards, north is the place of the Unconscious.

Basho travelled north;

a stray dog crossed his path: south-

west is something else.

__________________________________

At Marseilles, the stray

dog joined the wise fool and they

walked the tarot way. 

_____________________________________

_____________________________________

23/04/08

mysterious fog

shrouds the sea; only the pier

palely emerges.

—————————

25/04/08

SOAKING THE LENTIL PAN PRIOR TO WASHING UP

 ridges as left in

 sand by retreating sea, but

 in pan of lentils

___________________________
30/04/08
cloud piles all up the

sky; prowling sea; wind annoys

beds of pink tulips

_____________________________
01/05/08

towers of white cloud

over frisky, sunlit sea;

cars glitter along

___________________________

sparkling sea has changed

from grey to palest turquoise;

white sails fill with wind

Posted by: 94stranger | April 30, 2008

art objects 40: English landscape painting

Those of you who have followed the gradual unveiling of my collection of art objects will, I suspect, be at least half-surprised that, amid the assemblage of ethnic paraphernalia with which my walls are festooned, there is somehow room for an English landscape painting. Only one (so far), but one nevertheless. I am a bit surprised myself. Let me say that originally this painting was bought for someone else, but eventually ended up in my possession. This perhaps explains how I came to do something as uncharacteristic as to dabble in an area of which I know and understand nothing whatever. 

The origin of this peerless example of English fine art (if such it is, which I very greatly doubt!) was none other than Roger’s ‘Old curiosity shop’ as I always used to call it. Roger’s is zoned by height, with essentially four layers, counting from the bottom: under the tables, on the tables, on the walls and suspended from the roof beams. Paintings at Roger’s can be found in zones 1,3 and 4, viz: anywhere except on the tables. For anyone with an elastic neck, this is quite convenient, as the majority are suspended from above. For the non-bionic among us, it can be a bit of a struggle. Those on the walls, on the other hand, suffer from another complication: they are not infrequently one on top of the other. Given the density of objects in all areas of Roger’s, moving anything is a heart-in-mouth proposition at the best of times, so anyone attempting to view ALL the paintings on show at any one time has to have nerves of steel.

There was one painting which, to my untutored eye, seemed really attractive - a watercolour of (I presume) English fields in summer. I can’t remember any longer why I dithered about getting it - possibly because there was such a profusion of framed items of many kinds at Roger’s that I may have been nervous about taking this for fear of passing up something better - which is ridiculous: if you like something, then you like it.

Inevitably, one day I walked in and it wasn’t there any more. That was the moment when I realised how much I had liked it. Is it not ever thus? I pass on the scenes of ringing of hands, self-flagellation and worse. Anyhow, after slinking away and licking my wounds, I eventually returned to the fray with renewed determination - the time spent not (yet) buying this promised picture was getting ridiculous, even for me I had to find something, so that I could keep my promise. So in my new, aggressive mood, I scoured the entire shop from top to bottom. At the back, hidden on the wall behind a couple of other large canvases, I found the very same vanished pastoral scene - it had not been sold but victimised by a reshuffle occasioned by another tide of incoming merchandise. This time, I didn’t dither.

Here it is:

Posted by: 94stranger | April 28, 2008

Universal Cycles - a look at how the Cosmos develops

(What follows is a Rainring cards page which I pasted ‘by mistake’ as a post - so I’m going to run with the said ‘mistake’ and publish it here. These are the first six stages, three more follow. BTW, this is according to me - you won’t find it anywhere else!)

Directory of Meanings Set 9: Process Archetypes

NOTES

1. Set 9 also involves archetypes – those of process. It is based on the proposition that all psychic processes evolve in the same manner, following a specific template. The nine cards of set 9 provide the template

2. Each entry is structured as follows: After describing the image, there is a general reflection on the place of the card in the set as a whole. This is followed by the section which deals with detailed meanings. The last item is a summarising list of the divination meanings for the card.

3. The treatment of each stage of the cycle is of a thematic, rather than strictly historical type. Our concern is not to answer questions such as the precise conditions of the origins of the psyche, but rather to provide a model of the stages which will be of practical value in divination.

 

73. Projection:  group – spirit (1 violet/purple) [stage 1]

The Image

 

It is night; perhaps the period just before dawn. In the left foreground a bearded man sits on the ground with knees drawn up and arms around his shins, gazing into a small fire. On the fire is a pot-holder in the shape of a globe, suspended by chains from a rod which disappears out of view in the right foreground. Behind the man, the shape of a wolf’s head can be made out, its eyes catching the firelight. In the middle centre of the image can be seen the silhouette of a figure sleeping on the ground. The landscape beyond is hilly, and there are a few faint stars in the sky.

The place of Projection in the Process Cycle
Projection: 1) stage one of the project: first movement of the spirit towards conceivable goals; 2) the distortion of what is by what is imagined, believed, felt to be
If Projection is the first stage of the cycle, the original Projection would logically correspond to the origins of the psyche. However, Projection represents only the beginnings of consciousness, so Projection must take account of a preceding stage: that of Crossing (out of the original Unconscious into consciousness). Crossing involves dislocation, disorientation, confusion and uncertainty, and in the cycle this forms the background out of which Projection arises.

Projection itself does not represent a stage at which there is no female polarity. Strictly speaking, we should consider Spirit and Will as constituting a co-equal first stage. The emotions of the Will open space for the light of Spirit to penetrate, but the shape or form of the universe is determined by the emotional responses (stage 2, Resistance) of the Will to the project first conceived by Spirit. So, our ‘first stage’ will be the study of this process of Projection.

The meaning
Projection: ‘a transforming change; the forming of a plan; the act of perceiving a mental object as spatially and sensibly objective’[1]

To reach the stage of Projection means that you have come out of Crossing. In Crossing, you get to a point at which you realise that your own unaided efforts are not going to carry you forward. When something is completed[2], there is an inevitable ending; Crossing thus involves a death of some kind. Only when this is accepted are the conditions in place for the new to arise. Projection is like the first sense you have, at the end of the night, that dawn is near. At that point, suddenly, your spirit lifts, the weight of the past is lightened, and you begin to plan for the new day which you know will soon be upon you.

In Projection, you experience elements of inner tension or contradiction. On the one hand, your plans induce a feeling of optimism and excitement – the thrill of taking the first, tentative steps upon a new path. On the other hand, there is a strong element of resistance. First, you cannot easily shake off the womb-like sense of protection and support which the Unconscious offers at the moment that you let yourself go and allow life to carry you wherever it will. After all, that is what you knew before consciousness and, as at the moment of your birth, part of you longs to remain in that original womb. Second, this stage of Projection is one in which you are essentially alone. You cast around here and there, trying to orient yourself in this unfamiliar landscape, to find some kind of theme, direction, raison d’etre which will give coherence and purpose to your movement.

 

Just as birth is associated with pain, or at very least drama, so this passage into the new cycle – for such it is going to be – is likely to cause upheaval and distress. The familiar is behind you, the unknown ahead, and there is hurt in this situation. In fact, what will oppose you in Projection is this aspect of yourself that does not want to have to go through the struggle of giving birth to a whole new cycle. The job position you have held for many years has long given you security - you are reluctant to leave. Now times have changed and there is nothing further for you in this post. But can you face the job market, with all the distress and tension which this implies? To move on will always be difficult in some respects. Relationships too will be disrupted: you lose respected and valued colleagues, will have to deal with entirely new ones.

To sum up, Projection is going to require that you achieve inner balance – both in order to go forward and in order to withstand the challenges which lie ahead of you: for the disturbance of the status quo, the elaboration of the new project – this essentially spirit work - is going to produce a backlash from the Will (stage 2)

Note that Projection can also come up with the standard meaning used in psychology: ‘the attribution of one’s own ideas, feelings, or attitudes to other people or to objects’ (Merriam-Webster online) – you misread what is outside you because you distort it in terms of what is within you.

Divination summary

a new start, the end of a period of confusion, uncertainty and loss of direction; plans, projects, schemes; first tentative steps; the loneliness of the pioneer; solitary meditations; being misunderstood and unappreciated; doubts, misgivings, hesitations over the way forward; difficulty in shaking off the comfort of old habits and routines; overcoming resistance to change.

74. Resistance:  group – will (2 red) [stage 2]

The Image

The scene is an interior,  with both clothes and décor demonstrating elegance. Two women stand, one behind the other, facing towards us. The lady at the back has her gloved hands on the shoulders of the one in front. She wears an extravagantly large wide-brimmed hat, jewellery, and a tasteful gown in soft tones of red, trimmed with white. Her expression is sympathetic and concerned, in contrast to that of the woman in front, who leans forward, her hands resting on a table. She wears a two-piece gown in a strong red colour and looks angry and resentful. From the name of the card, we can easily surmise that she is resisting some suggestion or advice from the other woman.

The place of Resistance in the Process Cycle
Resistance: necessary opposition; friction of emotion against the unfettered impulse of spirit
Resistance can, but does not have to carry a negative connotation. Its appropriateness or otherwise must be judged on a case by case basis. In the process cycle, it represents the reaction of the Will against the ‘project’ as conceived by Spirit. This reaction is inevitable: we are dealing with the two polarities, which by definition are going to adopt extreme positions and then clash. It is the existence of strong assertion and counter-assertion which enables us, in stage three, to achieve a good balance. Polarisation causes problems which must later be overcome, but it is nevertheless indispensable and cannot be sidestepped. If the Spirit (Projection) has a clear bias towards thought, the Will exhibits a contrary one, towards emotion.
[3]

The meaning

Your standpoint is that of fluidity, an affinity with the Unconscious which makes you reluctant to buy uncritically into the plans and projects of Spirit because of all the avenues that will be closed off. This is an inevitable paradox: to choose one road means that you abandon others. Your resistance may simply be the result of a visceral opposition to what is being proposed; more positively, however, it is a determination to work through the potential consequences. Spirit’s enthusiasm has got the creative juices flowing, but you are aware that it can lead to naïve optimism, flawed reasoning, unjustified assumptions. Or Spirit can be very cerebral in its approach, and you see at once that the human touch is lacking, the feeling dimension has been sidelined.

In fact, it is Spirit that has the vision, the ability to imagine a line of conduct being imposed upon the infinite chaos of possibility. This is not your forte, but it is you who have the responsibility for exposing all the weaknesses and flaws in what has been proposed. What, you ask, will be the legacy of this project for the future? Is it just a product of inflated ego, or does it have enduring value? What is its creative potential: is it open-ended, promoting diversity, variety of expression, the introduction of original elements into the psyche? What will its impact be on relationships? Is this a male-dominated project which you feel will allow little or no freedom to the female side?

You are concerned with family matters. How will this project impact on children, on family life, on relations between men and women? Finally, how will it affect the community? Your ultimate concern is to promote desire. Are the expected outcomes desirable, and for whom? All too often, the spirit side initiates projects which, for all their intellectual brilliance, do not engage the passionate love and loyalty of feeling-sided people, because they lack ‘emotional intelligence’. If you are on the Will side, you want fun, enjoyment, amusement, entertainment, pleasure, especially sex.

The world in which we live is still very much dominated by negative aspects of Spirit – for example, devising ways of killing each other – to the detriment of the terrible pain felt by the Will. The desire for enjoyment, on the contrary, carries overtones of frivolity, immaturity, low intelligence, weakness of character. One definition of Resistance is this:  ‘an underground organization of a conquered or nearly conquered country engaging in sabotage and secret operations against occupation forces and collaborators’. (Merriam-Webster) This quite closely describes the position of the Will on Earth at present. Unless and until these two forces of Spirit and Will come into a better balance, we will not have well-being in the psyche.
 

Emotional expression creates space for the light of Spirit. Opposition to emotion means opposing the expansion and development of Creation – it means favouring destruction.


The card Resistance will typically come up when there is ‘an opposing or retarding force’ (Merriam-Webster) – the normal definition: in other words, when such a force is coming either from you or to you. This word also means: ‘a psychological defence mechanism wherein a patient rejects, denies, or otherwise opposes the therapeutic efforts of a psychotherapist’. So, Resistance spans the whole range from necessary resistance to emotional repression all the way to denial of the truth about yourself: each instance must be evaluated individually.

Divination summary

resisting, opposing, acting as a brake – particularly in regard to over-intellectual schemes and projects; championing pleasure relative to duty, emotion vis-à-vis thought; supporting flexibility against rigidity, freedom of the individual against central control; showing concern for the future effect of present projects; protecting the interests of children, family, community; denying or being unwilling to recognise your personal faults or neuroses; refusal to listen to wise advice, being closed to feedback.

75. Balance:  group – heart (3 green) [stage 3]

The Image

A young man is walking a tightrope above a landscape of mountains. To steady himself, he uses a pole, at each end of which hangs a pennant. Above one of these is a house motif, above the other, a cock. The youth wears a green waistcoat, breeches and shoes, a white shirt and red stockings. He has one foot on the rope and the other moves forward above the chasm to seek his next foothold. He gives - necessarily indeed - an impression of unwavering concentration.

The place of Balance in the Process Cycle
Balance:

the interaction of projection and resistance produces a third force: a dynamic balance able to catalyse further development – stage three   
Balance is unique among the Rainring cards, and its importance powerfully emphasised, by the fact that there are two balance cards in the pack. One, balance umpire, refers to static balance and the other - this card – is about dynamic balance. Static balance involves Balance as a great principle or pillar of existence. Dynamic balance, as the image indicates, is an altogether more hands-on affair, where all Balance ensures is the minimum degree of equilibrium necessary to obtain and maintain forward progress. At Rainring, we regard Balance in general as constituting the third great force of the cosmos, after male and female (see below).             

The meaning

You are at a point where you have been able to achieve a minimum of reconciliation between male and female energies. This is either an inner experience that you are having, or it refers to you taking a mediating role vis-à-vis other people in the external world. It has to be recognised that Balance energy, in an external context, constitutes giving up on your own needs, desires and aspirations. The position which you occupy is that of being intermediate between the two poles of Spirit and Will. Balance is a heart energy card, and we have referred already to the heart’s connection with children. Like the child, Balance energy is the product of the fusion of male and female polar elements, and like the human child, in this position you cannot but bear the burden of this bi-polar makeup.

So Balance is a position heavily affected by pain in the relationship area: you are walking a tightrope between the polarities of Spirit and Will, whose interaction oscillates between attraction and repulsion, coming together and pulling apart. You are, in fact, the embodiment of their success in coming together. This ‘triangulation’ obtained by the presence of a third force, brings a minimum of stability to the enterprise of being.


Your ability to achieve Balance can be maintained only by you moving onward, and this means that inherent in Balance is the constituent of Formation, the next stage in the process cycle. You are not in an immovable and stable situation, but in one which requires you to make a constant adjustment to the strains, tensions and pressures brought about by the push-pull of interaction between the two poles. It also requires that Spirit and Will remain sufficiently ‘on the same wavelength’ for the project to continue to move forward.

In Rainring, we have two forms of Spirit-Will balance, the male sided one, corresponding to green (heart) and the female-sided magenta (conjugation).[4]

The card Balance, as a heart group card, represents male-sided balance.[5] Your natural tendency, in achieving this balance, is to favour the spirit side. You have not attained Balance by being completely even-handed, but by managing a minimum of accommodation between the two poles.

In fact, the Will loses out, because this balance does not sufficiently reflect her desires and inclinations, needs and aspirations. It is this lack of a truly even-handed balance between Spirit and Will which is reflected in the present situation of repression of the female or feeling side.

 

You find yourself in a position of self-sacrifice, putting others’ needs before your own. Your reward is more in what you make possible for others than in what you obtain as direct personal benefit. Once you have succeeded in achieving Balance, you know that the project in hand will take form and develop.

 

How does this translate into the inner world? Here, balance involves finding your true position somewhere between, and distanced from the poles. It is the psychological equivalent of you being an adolescent / young adult striving to discover your own identity. Discovering your inner balance force is going to give you stability, resilience, flexibility and self-assurance. 

Divination summary

balancing competing forces, particularly male and female-sided ones; seeing both sides of the argument, tolerance; mediation, arbitration, searching for compromise; ability to keep moving forward; sacrifice of personal goals and desires in order to promote the common good; success in brokering agreement; tendency to be more sympathetic to Spirit than to Will; inner stability, resilience, flexibility; growing self-assurance.

76. Formation:  group – form (4 orange) [stage 4]

The Image

The scene is set in a hot, dry landscape, perhaps in the heat of the afternoon. An older man, naked except for a simple blue cloth at his waist, and painted on face and chest with white markings, is showing some paw prints to an adolescent boy. The boy wears a similar loin-cloth in green and has red hair, but no body paint. He holds a blue stick in his hand with a curved top, presumably belonging to the man, and is following the instruction intently.

The place of Formation in the Process Cycle

Stages one to three of the cycle are concerned with the psychific conditions required in order for the project to take form and be realised in material terms. Stage 4, Formation, describes the beginning of this materialisation. This stage is unusual, in that it involves two components, or sub-stages. The kind of impetus given by the three preceding stages is, as we have seen, quite male-sided: it is biased towards Spirit, with its planning and rationality. The effect of this is that, at a certain moment, the impetus of Formation is going to grind to a halt. One of two things can then happen: the project falls apart - Dispersion[6]

; or it receives new female-side input from the Unconscious (stage 5).

The meaning
Formation:

possibility actualised in form; project becomes fact; eventual stasis through lack of inspirational renewal
If Projection (stage 1) is a matter of theory, Formation by contrast requires you to be concerned with practice. Equally, whereas the beginning of a project necessitates that you gather impressions, which become in a sense the raw material out of which ideas are formed, Formation leaves all that behind and takes you into action - the whole buzz of theories and ideas needs to stop, the actual must trump the theoretical. Formation also involves you in education or training, so that this process of materialising ideas, plans and projects is one of learning as you go along. Your inner focus is therefore very much towards the future, since you will later feed back into the project what you are now learning.

Practical activity, building something up, contains an element of mystery – the feeling of never quite knowing where each new phase of the work will take you. This kind of absorbing work on a project tends to create a strong sense of identification, so that there comes a point where you feel that the way the work appears to the public sends them a message about you yourself. You see yourself as a pioneer, as the originator of this construction or scheme. As for your relationships, they have a very practical aspect: you are drawn to people who are ready and willing to support, even more to contribute to the work. All this combines to produce two results: first, you become passionately involved in the project, and this passion is maintained over time. Second, you acquire, as time goes on, an inflated idea of yourself: you feel increasingly what a special and valuable person you are.

One consequence of this is that you slip gradually into a state of inner rigidity and blindness, where you become insensitive to the warning signs that all is not well. Your concern for the future can become a failure to deal with what is right under your nose, to take the proper time and care needed at every point. What began as an adventure, full of passion and excitement, becomes a routine, a boring, unglamorous repetition, bogged down in endless small details. Your motivation falls away: You imagined a rapid and brilliant outcome, yet here you are – all that investment of time and effort, and what have you got to show for it? – An unfinished piece of work. Your inflated idea of your own ability and worth blinds you to the signs of impending trouble, deafens you to the warnings of others. You get impatient for results, begin to take short cuts: one too many and you are in trouble.

The qualities you require to launch a project, to drive it forward against all the odds, are not the same as those you need to carry it through the period of delays and setbacks, frustration and disillusionment. When the latter phase kicks in, you must bring something radically new to the table. The project will either collapse at this point and not be completed, or you must find inspiration, in order to progress to stage five. If these two situations represent one single stage, it is because the seeds of eventual stasis are present right from the outset: the materialisation stage was always going to run into trouble. This mirrors what happens in your inner world: there is always a moment at which the initial charge of enthusiasm, energy and drive runs out, and a ‘second wind’ is needed to renew impetus and carry you to a successful conclusion. 

 

Divination summary

 

1) Work; progress, development; learning, training, education; leaving theory behind; materialising ideas; the passion and mystery of practical advances in work; identification with a project; sense of self-worth through achievement; work-related contacts. 2) Delays, setbacks, unexpected difficulties; frustration, disillusion, impatience, boredom, getting bogged down; taking short-cuts, lack of thoroughness, unwillingness to listen to feedback. 3) Collapse of project; either its abortion, or a re-launch from the ground up (e.g. under new management).

77. Input:  group – unconscious (5 indigo) [stage 5]

The Image

The scene is of a snowbound landscape, with a frozen lake in the foreground            and fir trees on the slopes behind. At centre, on the ice is an open sleigh, on which sits an older woman; next to the sleigh and in front of it kneels a young woman, almost a girl. The occupant of the sleigh wears only the scantest clothing, in contrast to the girl, who is clad in a thick fur and still, from her body language, appears to be cold. The older woman holds in front of her, on her palms, an open box, from which appears to emanate some kind of force. This, together with the strange, unfocussed expression in her eyes, and her apparent imperviousness to the cold, all suggest that she may not be present in her physical body. This may also explain the expression of awe on the young woman’s face.

The place of Input in the Process Cycle

The transition or crossing between stages four and five is the critical moment in the cycle. If it is accomplished successfully, then the cycle will move through to completion; if not, it will abort. The problem is that up to this point, the qualities of consciousness - reason, analysis, planning, organisation and so on – have been sufficient to enable development to take place. Input (stage 5) however involves the resources of the Unconscious. These resources are only available if contact can be made, and if what is offered is able to be received. Accomplishing these two things requires another dimension to be added, in order to cross the watershed and finish the work. We now look at what this requires.

The meaning
Input: eventual loss of momentum in the formation stage can be overcome only by new input from within or without. Conscious efforts fail; the unconscious must be accessed.
Your plans are in disarray; things have not turned out as you expected. You are in uncharted territory and do not know how to proceed. Should you turn inwards and look for your own inspiration, or would it be wiser to seek advice from others? In any case, surely you will have to be able to diagnose effectively what has gone wrong, before you can hope to apply a valid remedy? As if this was not enough, you have to cope with your own loss of confidence, not to mention the reactions of others. How are you going to extricate yourself from all this?

This is an intensely inner stage, and necessarily so. If we looked at it in the context of the ‘project’ of your entire life, for instance, this would be the point at which you discover that you cannot go on as you have done in the past: the ‘mid-life crisis’ as it has been called. During the early part of your life, you are carried forward by the stream of activities, events, goals and ambitions. But there comes a moment when you finally ask yourself: but what is all this for? Where am I going? What are my values? what do I believe in? The answers, clearly, will have to be sought within. This is a stage 5 moment.

At Input, there is a radical shift in focus. You can’t go on externally, so you are driven to look inside. Once you give up on the external struggle, you experience a sense of freedom. Perhaps you take a walk in the park, go off on a day’s fishing, visit an old friend. And you realise that you have been working so hard that you have forgotten even why you have been working like a soul possessed. The conditions which you have created around your previous frenetic activity no longer suit your present mood: you need time to think. You don’t need to deal with a hundred people clamouring for instructions, requiring decisions… you need to be with yourself and to go over things; or perhaps to talk matters through with someone not immediately involved, someone whose judgement you can trust.

Gone is the euphoria, the inflated sense of your own self-worth. You are in an altogether more sober frame of mind now. Where previously you were a slave of all the razzmatazz generated by the project, now you are obsessed by the need to find the key to unlock your predicament, the ‘magic bullet’ to kill off all your troubles. You stop telling everyone else what to do and start listening for advice on what you need to do. Whether the necessary input comes from a dream, an omen, a chance remark overheard, a talk with an ex-colleague, a web-site… whatever its source, the crucial issue is that you have acquired a state of receptivity and in that state the help which you need can reach you. Input does not have to come from a great dream or other inner catharsis; it can be from outside: the point is that your change of attitude attracts what is needed – from wherever.

In a broader sense, we go through our lives constantly receiving Input, whether from dreams, synchronous events, clairvoyance, art, poetry, quiet reflection as we walk on the beach…In general, it can be said that the less preoccupied we are with our own agenda, the less our minds are full of the buzz of thoughts, the better the access we can have to what lies beyond – to the Unconscious. Input is a card which can refer to any circumstance where you are in touch with, and get help from, the Unconscious.

Divination summary

inward focus; reflective attitude; listening to your inner voice; attempt to re-evaluate your situation; retreat from frenzy of external activity; collapse of manic pursuit of goals; loss of euphoria, deflation, ceasing to be full of yourself; search for help, new willingness to listen; humility, admission of defeat, failure or impotence, recognition of own limitations.

78. Achievement:  group – self (6 yellow) [stage 6]

The image

In the foreground we see what could well be a traveller, passing under an arch. He is a big ginger-haired man, carrying a staff with a wolf’s head carved at the top. Beyond him, through the arch we see the white houses of a town, in front of which is a melon seller with a barrow, and a woman customer who is in the process of buying a melon. An animal, apparently a wolf, looks on. Behind the town, the colour of the hills suggests that this is a dry climate.

The place of Achievement in the Process Cycle

The sixth stage of the cycle takes us to the card which represents the self group – Achievement. This combines two characteristics: first, it is again a stage concerned with action; second, there is an emphasis on the personality of the querant – the qualities and the investment of effort and energy which enable him / her to bring the project to fruition. The card Achievement refers to the period after Input – this period culminates in Achievement, but the card covers also the period leading up to that culmination. Achievement, as we shall see later, does not complete the cycle, yet it certainly does mark at least an initial stage of completion.

The meaning
Achievement:

the stage of concrete, finished results; sustained and, when necessary, revitalised action bears fruit.
Achievement is an unambiguously positive card. It signals either the fact that you have been able to carry to a successful conclusion the enterprise which you began in stage one, or that you will succeed in doing so. This stage is one where, once again, you are focussing very much on yourself. You push forward hard now with the necessary action, having learnt the lessons which were required of you to overcome the setbacks in the later period of stage four. Once again, you do not need outside help: not because you are wilfully deaf to it, but because you have incorporated into the project what was lacking. You now have, or can obtain, the resources required to finish the job. Your inner attitude is a far more balanced and moderate one – you have made the necessary accommodation with the female side, so eliminating the worst spirit side excess of some earlier stages.

Up to a point, you return to the stage one situation: you have to re-assess your plans and strategies in the light of your change of heart, to ensure that you are making the necessary change of direction, which will in turn lead to the appropriate corrective action. This period involves a lot of inner tension. You are all too well aware of having come unstuck once already. This has dented your confidence, and henceforth you will not be taking anything for granted. Whereas previously you were in throwing-caution-to-the-winds mode, now you have an altogether more sober mind-set. This is going to affect your relationships – on the one hand, you will be more tolerant and less dismissive of others’ contributions, but on the other, because the euphoria has gone, you are capable of more a thorough, on-going appraisal of whether others are pulling their weight effectively.

Finally, this new sobriety needs to extend also to your private life. In this stage, the main danger that you face is that of not having the resoluteness of purpose to carry you through to the end. This is a period of personal sacrifice, privation and self-denial, at least in certain respects. The temptation to kick over the traces, rebel against the discipline imposed by the task, is always there. If anything can still derail you, or at least compromise your completion of the task, it is this. For example, at this time you need to fall in love about as much as you need a hole in the head!

Once again, we have looked at the card in terms of its place in the great sweep of process of the project. And again, as with the other process cards, Achievement can appear under much more banal circumstances, such as, for example, a successful mini-moment within a much larger context: a good result in yesterday’s performance of the play; success in getting a bargain; a difficult moment at work well handled and so on. And there is always the inner dimension: just as there are inner processes continually at work, so there are moments when you successfully achieve inner goals – freeing yourself from the last feelings of wanting to return to cohabitation with an abusive ex-partner, for example.

Divination summary
dedication to completing a task, strong-mindedness, ability to maintain focus; inner tension, uncertainty over personal capabilities, shadow cast by previous difficulties; careful planning and re-evaluation; cool and level-headed approach towards both work and co-workers; tolerant and fair attitude; self-reliance, determination to run a tight ship; being demanding first and foremost of oneself. 

(Communication, Completion and Crossing to follow) 
   

 

 

                

 
            

 

 


[1] Merriam-Webster online dictionary

[2] Logic here would force us to entertain the idea that in the Unconscious condition out of which consciousness was born, there must have been a process of some form which reached a fruition, as a result of which the Crossing into consciousness took place.

[3] This picture is complicated by the fact that Spirit, too, may show resistance: opposing the input of the Will, refusing to modify its projects in the light of feedback from the female side.

[4] Which exists in Rainring, but not yet in the manifest universe.

[5] In spectrum terms, Heart: green (yellow+blue) is more closely linked to Spirit: purple (red+blue), than to Will: red; whereas Conjugation: magenta (red+purple), has a great deal of red (Will) energy.

[6] Dispersion is the north mention on Formation in the 4-mention version of Rainring

Posted by: 94stranger | April 28, 2008

art objects 39: large Turkish Milas carpet (c1960)

(colours in the above I assume to be all vegetable dyes; size - 140cms x 180cms)

In my post art objects 33, I wrote about Ugur and his shop

 

I liked Ugur a lot: he had a genuine love of beautiful things and a willingness to share his knowledge about Turkish rugs. And he appreciated my appreciation of his treasures, and the way that I would always home in on the pieces which he himself regarded as the special ones. I would sit on woven cushions and he would offer me tea. It was English tea served in an English mug, yet his manner, accent and above all the decor would take me back forty years to the time when Istanbul was my home city, and I could visit the covered bazaar every day if I wished - and I was young! Ugur and his partner put a great deal of love and care into their shop, and it should have been a runaway success - but commerce is a fickle mistress. They got some things wrong - I don’t even know entirely which - and the business never took off. It must have been a long drawn-out, painful death to all their plans and dreams.

I had the good fortune to be able to buy not one, but two beautiful rugs from Ugur, during the time that his shop was open. In fact, after the half a year or more that it took me to pay off the graveyard rug described in the post just quoted from, I was relaxing, before taking my prize away. Obviously, given Ugur’s and my shared passion, the natural way to relax was to talk about carpets, particularly old carpets, and one thing leading to another, it was not long before Ugur was rooting through piles looking for… ‘you see?’  ‘Yes, ’it’s definitely got something, but it’s a bit busy for me / these are not my favourite colours / I feel as if the proportions are not quite right here…’  And then - out came the carpet shown above, and I had my second big shock from Ugur’s. When I say shock, I’m not referrring to the price, which I knew in advance was going to be too much for me, but the beauty of the thing - the delicacy of the colours, the patina that a carpet acquires only with age and use, the designs and proportions - this carpet had everything. So, to cut a long story short, I enslaved myself for another twelve months, after having ascertained from Ugur that he was prepared to put up with the considerable time it was going to take me to pay this carpet off, and it that it would be only by very modest increments. I suppose, despite these obvious annoyances, the upside for him was that he knew that this carpet, for which he could not but have a special affection, would end up with someone who genuinely appreciated it as he did.

The slightly sad footnote to all this came when I bought the small Milas (art objects 4) some years later: apparently, as I was told on that occasion, the modern rugs being produced in this area have taken a complete nose-dive in quality. Whatever the particular magic which has found its way into my two Milas carpets of the previous generation, this magic seems to have been lost.

My attitude to living with beautiful things has, I imagine, been coloured by the fact that I was brought up entirely without them. It was my first college girlfriend  - who had tried but failed to get into art college - who first opened my eyes to the world of aesthetics. It took another three decades or so for me to be able to shake off the guilt associated with my protestant upbringing to a sufficient degree to actually feel able to start, slowly and hesitantly at first, bringing into my life, as my own possessions, beautiful objects. Certainly, two legacies remain from my early years: first, I prefer functional objects, though I do have a few items whose place in my collection is not related to their immediate usefulness. Second, I have my own sense of proportion about prices, which reflects the modest financial circumstances in which I have spent my life: recently, I was told that the current price of a genuine Victorian wrought iron table and set of chairs for the garden would be around £3,000-4,000 (double that for US dollars),  and I know that I would not be willing to throw this kind of money at that kind of item: so I guess I have to assume that the puritan in me is still, in some corner of my psyche, alive and well.

At the end of the day, as the saying goes, ‘there are no pockets in a shroud.’  So the ultimate test for me of the ethical acceptability of owning beautiful things is this: has their presence in my life enabled me - through my creative work, for example, to give back more and better than I would otherwise have been able to do? Now there’s a tricky piece of auditing to do!

It remains for me to say: enjoy!   

Posted by: 94stranger | April 25, 2008

Rainring post-tarot psychological cards

 

http://rainringcards.com

 

(Reading this again recently, I was surprised to realise that I had buried it away in the Rainring pages for months, whereas I think it is an excellent introduction to the Rainring cards (even if I say so myself), which I am supposed to be trying to promote on this blog, in between haiku, art objects and I know not what all else. So, here is a re-issue. Enjoy! [and learn!])

 

How we use Rainring 

Before either reading Rainring or having it read for you, it is advisable to have some prior knowledge about how to get the best out of these cards. Rainring is not primarily intended for divination (finding out about the future), though it can be used to do this in certain ways. Also, its main focus is not on the external world, but on what is going on inside you.

We do not use Rainring cards to ask about financial matters. We do not use them in general to attempt to get answers to yes/no questions. ‘Will I get this job?’ Will my son pass his driving test?’ ‘Will he/she come back?’ Clairvoyants using other systems are able to do this, and should be consulted for this type of reading.

The main purpose of Rainring cards is learning about yourself and how to achieve two types of psychological balance: between the male and female elements of your psyche and again between the conscious and unconscious elements.

Why?

 Male-female balance

During recorded history, we have seen a preponderance of male over female energy in every important society. Gradually, in the contemporary world-view, we are becoming aware of how damaging and limiting this is to the human race as a whole. It is high time we succeeded in creating societies where these two energies are in balance. This does not simply mean half of a country’s MPs or company directors should be women. There are male-sided women and female-sided men. It is the male and female energies in the psyche that need to come into balance. Unfortunately, this is not merely a question of political campaigns or writing books. This requires the ability to affect at a profound level the conditioning in place throughout the human race in regard to such things as the role of emotion in human well-being.

Rainring aims to stand on a foundation of male-female parity in the psyche. If you read the cards, or they are read for you, you are operating inside a structure, a cosmos which is designed to explore and develop both sides your personality, to help you towards balance both in your inner life and in your interactions with the outside world.

 Conscious-unconscious balance

The importance of conscious-unconscious balance is equal to that of male-female balance. Most, if not all of us human beings have an inner split, in which our conscious intentions and our unconscious impulses are in conflict. The result is that we tend to go through life shooting ourselves in the foot: for example, we start a project – getting fit, taking up a new hobby or learning another language perhaps – with great enthusiasm, only to discover, somewhat later, that we have given up, or switched to something else. Similarly, part of us spends years building up a strong marriage or financial position, then another part throws it all away in a fit of madness.

What we ’ought to be’ is often more important to us than what we are – whether or not we subscribe to any formal religion. As a result, we make conscious efforts to be the kind parent, stalwart friend, good citizen, laid-back character, life-and-soul of the party, or whatever our self-image tells us is who we aspire to be. But at the same time, another part of us, our unconscious, is trying to fight the corner of everything that we try to suppress in order to be who we consciously want to be. This unconscious part is responsible for the black depression of the clown, the high-stakes gambling of the dedicated family doctor, the afternoon prostitution of the ultra-respectable suburban banker’s wife – and so on.

 

Effects of balance

What exactly will this balancing do, if we can achieve it? Rainring cards are very concerned with what we call self. The extensions of this word – selfish, self-centred, self-obsessed, self-righteous… all indicate that self is usually a negative word in our Christian-influenced UK society. The church has made it clear that selfless devotion to others is its model of good living and, although few of us here any longer go to church, we continue to feel guilty about any focus on me, what I want, who I am, what I’m prepared / not prepared to put up with and so on.

 

Rainring doesn’t see it this way. For Rainring, Self is one of the building blocks of the psyche. The view of the cards is that psychological well-being must start from self-knowledge. First, I need to know who I am. Then I can attempt to fulfil myself – that is, to live as best suits my unique nature. The problem is that I am not myself – I am, in fact, the person that my parents moulded me into being. Even with the best intentions, the typical parent has their own agenda for their child: they want him/her to grow up to be a certain kind of person. Unfortunately, this means that virtually all of us, to a greater or lesser degree, have a self which is based on what our parents required us to be in order to get their love and approval. We do not have a self based on who we actually are.

 Rainring aims to help us get in touch with our true nature, to help us be aware when we are being ourselves, and when we are dancing to a tune which is not our own.

 Effects of using Rainring: the cards’ own verdict.

I asked the question: what will be the effect of the cards on moderate (i.e. not obsessive) users? Here is the link:

  effect-of-cards-on-users.doc

Not for the first time, the results are a surprise. In this case it is because of the emphasis on feelings, which involve both of the basic cards: Grief on the female side, Anger reversed on the male side. The balancer for these two is Crossing, and the final result (centre) is Control.

 My question implied that I was asking about the effect of using the cards on ordinary people who might come across them having had no special preparation or previous experience working on themselves. What I have written here has been aimed not at those who are already familiar with the issues raised, but at those who are not.

 It seems to me that the card Grief refers to the emotional response of such a person when they begin to open up to their feeling side, to feel how greatly the female side has been damaged in the psyche, how much pain it has endured, and still does.

 The male side reaction is anger reversed. The two seem to be connected. Anger is undoubtedly the emotion most accessible to the male side. Gaining access to grief upsets that status quo, suggesting that as the masculine opens up to the feeling side, anger loses this dominant place in the spectrum of emotions.

 This sense of a discontinuity, a shift leading to a new beginning, is supported by the apex card, Crossing. This card refers to the ‘dark night of the soul’, the sense of loss, disorientation and distress which accompanies those times of passage in life when a cycle has ended. Ultimately, there will be a new beginning, yet what is difficult is the sense that, before there can be renewal and new life, there must be the pain of losing the known and familiar landscape of one’s life. It is a widespread characteristic of the human psyche that even when life is full of pain, we would rather remain with what we know than face the fear of the unknown. Crossing is facing the unknown.

 The last card, the result, is a surprise: Control. In Rainring, we usually think of Control as one of the unbalanced cards – Control and Abandon as the extremes, with Passion as the balance between the two. This is not the meaning here, however. We saw how use of the cards will affect emotions on both the male and female sides. These emotional effects will combine to produce an experience of death and rebirth on some level. The ultimate result will involve control of the emotions. This seeming paradox is resolved in this way: Rainring supports neither repression of emotion nor emotion running amok. Control as the result card implies that not only will working with the cards enable the reader to gain access to emotion (as in the cards Grief, Anger), but also to learn how to situate it correctly in one’s overall psyche.

 

Emotional control is a plague in the case of all those who have no access to their emotions - who have either an impaired ability to feel, or a blockage in accessing to their emotions. But to those who are in touch with their female, feeling side, control is a necessary virtue. The circumstances of life – not least in a male-dominated social context – require that emotional people be capable of handling their emotions, not letting themselves be constantly swept away by them, to the detriment of their ability to exercise calm judgement and make a measured response in circumstances where these are required.

 

The cards, I feel, might equally have pointed out that for this latter type, working with Rainring is going to help promote an ability to use the spirit side more effectively, to balance the rampant emotionality which makes it virtually impossible to function effectively, especially during the present conditions of life in society.

Preparing for involvement with the cards:  

Visiting a tarot reader is a commonplace activity for many people. Visiting a Rainring reader, or reading the Rainring cards oneself is altogether more unusual, and requires a different approach. If Rainring is read for you, a three-way conversation takes place. First, there is yourself who have a problem or an issue in your life upon which you need some light to be shed. Second, there is the Rainring reader, whose job is to act as intermediary between you and the cards. Third, there is the cards themselves. The intermediary is like a person trained in code-breaking: their business is to decode the utterances of the oracle – to tell you what the cards which appear in the reading mean. However, the traffic is not one- but two-way. The reader as intermediary also asks you to comment on what the cards appear to be saying.

Like an oracle, the utterances of the cards are cryptic – they can often be taken in various ways. If the story of your life is to be laid out on the table in a few images, each accompanied by between one and three words, then there is going to be room for uncertainty as to exactly what the cards are saying! The disadvantage of the cards, then,  is that they don’t have much to say. Their advantage is that they are objective, not swayed by your feelings, and know what is in your unconscious, not just what appears on the surface. Also, under the right conditions, they can deal just as effectively with the future as with the past or present.   The cards have the ability to cut through the veils which we all use to hide ourselves from the eyes of others and indeed from our own eyes. In order to derive real benefit from the cards, the querant (questioner) must be ready to drop those veils – at least, those which are involved in the matters covered by the particular reading.

To put it another way - if the reader says: ‘this card seems to suggest that there is a lot of violence in your relationship’; that ‘deep down you really hate your dad’; that ‘you never got genuine support from your parents…’ and you say, ‘No, that isn’t true’ to whichever it is, then the reader will try and find another interpretation that you can say yes to. If you are avoiding the truth, even if the reader has the strong intuition that this is the case, he or she will not challenge you. After all, there are no total certainties here! So the value of the reading in giving you a chance to get in touch with hitherto closed areas of your psyche depends neither on the cards nor the reader but, in the end, on you yourself.  

 If you decide to work with the cards, I think you will only truly benefit from such work if you are prepared to face whatever they may bring up. But understanding this is not the only preparation that you will need. You should know that Rainring cards are designed according to certain assumptions about the nature of the psyche and that these assumptions are incorporated into the way the cards work. Let’s have a quick look at these.  First is the belief that we attract the events which correspond to us. In other words, we are the author, not the victim, of what happens to us. This means that we must take responsibility for what happens in our life. The woman whose drunken husband beats her every night must realise that she is the co-author of that situation. However awful it may seem, she stays there because on some level she ‘chooses’ to do so. We would not apply this reasoning to the circumstances of children in the same way – it applies to adults.  Second, we assume that the nature of a relationship derives from a 50% input by each partner – again, in the case of adults. In other words, it is not true that the problem I have in my marriage is that my wife…. That is half the problem. For the other half, I had better look at myself.  Finally, you cannot resolve psychological issues solely by external means. Inner is more powerful than outer, not vice-versa. If I am bored, jaded, disillusioned etc I may move to a different town or even country. This will no doubt shake things up for a while. But if no inner change follows, then after a time the state of boredom, jadedness and disillusionment will return, because I am generating them from within myself, and the outer cannot, alone, move the inner. 

 

To conclude, I would like to suggest that none of the above is in any way freakish or weird. If any of it is unfamiliar, this is because nothing in our lives – whether at home or at school – ever encourages us to focus on the world inside us, or gives us even the most basic knowledge and tools with which to do so. Many of us achieve remarkable levels of sophistication in our handling of the external world,  whilst at the same time remaining almost totally ignorant of even the simplest elements involved in dealing with what takes place inside us. As explained earlier, this is one of the imbalances that Rainring is concerned to try and help to redress. The realisation – not as an idea but as an experience – that inner determines outer, not vice-versa, is perhaps what is most effective in motivating us to work on the world within us. It is this work that Rainring was set up to assist with.