Revelations, Seals & Consciousness:
The Second Seal*
The opening of the Second Seal of the Revelation of John symbolizes, in a negative
sense, ‘the Fall’ into the self-created
(by the ‘movement’ of self-reflection; which is the origin of all
dependent dualities)—i.e., the “first born”—dualistic, 3-dimensional ‘curved’
space, “beast of the sea” consciousness of the “self”; the swordsman on the red
(Chapter 25, verse 30 of Genesis) horse
being Esau [-->the apostle Judas-->Susan] (Chapter 27, verse 39 of Genesis).
In addition, the origin of the ‘spatiality’ of the “self” is graphically demonstrated in the final conflict between Agent Smith and Neo in Matrix Revolutions; Agent Smith representing the origin of the duality (the “dragon”), and Neo representing non-duality (Mi cha el) at time segment 2:13-2:18, followed by ‘the Fall’ from time segment 2:30-2:46 of:
Neo vs Smith--origin of the "self" ;
whereas the following video:
Matrix Ending ("beast of the sea"/"beast of the earth")
graphically demonstrates Agent Smith (the “dragon”) as having ‘morphed’ into, first, the “beast of the sea” (at time segment 0:10-0:14—see Chapter 13, verse 1 of the Revelation of John); and, then, the “beast of the earth” (at time segment 0:55—see Chapter 13, verse 11 of the Revelation of John).
Nor is it a mere coincidence that, through a time-reversal (time segment 1:25-1:28 of:
Sleeping Beauty--Maleficent Morphs Into the Dragon ),the ‘two-horned’ Maleficent (representing the consciousness of the ‘thinker’) morphs into the “dragon” (representing the origin of the duality, which is the foundation of the “tree of the knowledge of good and evil” consciousness of the “self”)…
But only after the rider on the white horse has cut through the thorns around the castle; which represent the metaphysical nonsense concocted by the dog-in-a-manger Jewish, Christian and Muslim religious ‘authorities’ for the purpose of preventing people from understanding the Truth of the Revelations.
In a positive sense, however, the woman in the red dress in the following dance represents not merely the ‘fallen’ consciousness of the “self”:
In addition, the origin of the ‘spatiality’ of the “self” is graphically demonstrated in the final conflict between Agent Smith and Neo in Matrix Revolutions; Agent Smith representing the origin of the duality (the “dragon”), and Neo representing non-duality (Mi cha el) at time segment 2:13-2:18, followed by ‘the Fall’ from time segment 2:30-2:46 of:
Neo vs Smith--origin of the "self" ;
whereas the following video:
Matrix Ending ("beast of the sea"/"beast of the earth")
graphically demonstrates Agent Smith (the “dragon”) as having ‘morphed’ into, first, the “beast of the sea” (at time segment 0:10-0:14—see Chapter 13, verse 1 of the Revelation of John); and, then, the “beast of the earth” (at time segment 0:55—see Chapter 13, verse 11 of the Revelation of John).
Nor is it a mere coincidence that, through a time-reversal (time segment 1:25-1:28 of:
Sleeping Beauty--Maleficent Morphs Into the Dragon ),the ‘two-horned’ Maleficent (representing the consciousness of the ‘thinker’) morphs into the “dragon” (representing the origin of the duality, which is the foundation of the “tree of the knowledge of good and evil” consciousness of the “self”)…
But only after the rider on the white horse has cut through the thorns around the castle; which represent the metaphysical nonsense concocted by the dog-in-a-manger Jewish, Christian and Muslim religious ‘authorities’ for the purpose of preventing people from understanding the Truth of the Revelations.
In a positive sense, however, the woman in the red dress in the following dance represents not merely the ‘fallen’ consciousness of the “self”:
but, also, the 3-dimensional ‘curved’ space reality within
which we all must live—the five ‘swimming’ movements of her left (the Feminine
Phonetic Tones) and right arm (the Masculine Phonetic Tones) at time segment
0:20-0:25, for example, representing the Ten Principal Phonetic Tones of
Creation.
And because these Phonetic Tones pertain to the Creation of
the space-time reality, the woman in the red dress also represents the
observations (and experiments) of the scientific method (which constitute a
‘special case’ of the “observing consciousness” directed toward the space-time
reality) which establish the foundations of scientific truth.
Many of her other movements, however, signify
characteristics of the consciousness of the “self” which can be accurately
explained in detail only in an oral Teaching.
And, to the extent that there are emotions associated with both
‘the Fall’ into the dualistic consciousness and the (violent and bloody) consequences
of that ‘Fall’, there is a significant correspondence between the emotions
associated with the Second Seal, the Fifth Seal, and the Sixth Seal; the Fifth Seal signifying
sorrow, but the Second and the Sixth Seals signifying not merely sorrow, but an infinite abyss
of unresolved anguish, hopelessness, desolation, despair, and the unrelenting
stoppage of time itself: emotions experienced by those who have suffered extremes
of violence, torture, mass-murder or warfare, as conveyed by:
And, with regards to the Teaching of Jesus, it can be said
that Paul was the ‘rider on a red horse’; the ultimate
consequences of his perversion of that Teaching—through, in particular, the doctrine of ‘vicarious atonement’ and its ‘dependent idolatry’: the deification of Jesus as ‘God’—being expressed in these two songs.
Michael
*Previously published on December 1, 2013
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