Presentation Q2-6
Presented on: Saturday, May 9, 2015
Presented by: Roger Weir
The Future and The New Past
Presentation 19 of 52
Presentation 2-6
Presented by Roger Weir
Saturday, May 9, 2015
Transcript:
We come to the 19th presentation in this yearlong of preparation. And we're about 25 years into our new time form of civilization. So, we're looking towards trying to reconnoiter back. And we're, as we're doing that, there's a symmetry to time forms of civilization. And that is that the past is not dead, but that as you reconnoiter into the past, it comes alive. It begins to have a quality that it did not have in the cultural experience and the mental formulation of what was happening then. It has an extra added dimension to it, and that extra added dimension allows us to go back in time to not just revisit the past, but to re-energize it with history. But that history has its own context, its own field of occurrence. And the field of history is actually vision. Whereas the field of experience is nature.
So, in doing a retrospective vision comes in as a fifth dimension to the four dimensions of space time, and the universe begins to have a quality of cosmic context. And as the field of vision develops, what emerges then is that the character of experience, which is the way that we are in nature, in culture. And we unify that by an idea of ourselves, which is our identity, our individuality. But in the retrospective, in the Bringing into play a quintessential fifth, not just the four essentials of space time as a cycle, a pattern which holds even in cultures, in civilization. What comes into play is the ability to not only have dreams and to not only have traditions and to have experienced passed on through the learning of how you do things. And who we are and our groups, the relationships, especially of family, of clan, of totems, of tribes and so forth.
In the quintessential retrospective of visioning, the past becomes new, becomes renewed. And as it does because the field of vision is actually infinite, it has no bounds. It has no boundaries. It cannot be defined. And the best word to use for it since civilization began to be discursive about 5000 years ago is that nature is when we are become, become conscious not of it, but with it. We are dealing with mystery. It is mysterious. And so, a quintessential quality of life comes into play where the mysterious is not a part of our character, of our individuality, of our culture, of our clans or tribes or families, etc. But becomes a transforming quality to what we thought was defined before. It becomes open to not just reform or revision, but to transformation.
And so, what was an identity that had settled on an individuality and knew its experiences, knew its ritual compartments, its traditions, customs, etc. All the patterns of this. Is challenged by the unknown. Which can't be identified. It is truly mysterious. And now not only needs to be added but needs to be taken into a formative position in the way in which the new past has, in its delving, a symmetry that extends into the future. So that vision has a quality of being prophetic at the very same time as being able to revisit what was passed as something now that has new aspects to it. New facets. New qualities.
And time itself becomes apparent after a while that it's no longer a past, present or future. What was, what is, what will be. But that that flow of time becomes the continuity. And that continuity in civilization becomes apparent as a triad. Becomes apparent as the past and the future braiding. So that the continuity is not just a dynamic line but is a movement that braids, and one comes eventually to understand that it's not just a braiding, but it's a weaving. And that it's like a loom that will have its warp and its woof that intertwine together. But there will also be a weaver who is able to braid complexly as a weave, the warp, and the woof. The past and the future not separate, but as operative within the weaving itself.
And so, the weaver begins to be conscious that, this is quite interesting. The weaver, not only with the weaving of the warp and the woof together. Or the shuttlecock, that then allows for the rhythm of the accumulation of the weaving into the woven. The weaver becomes a third time form element that goes into it. So that the pattern in the loom of time, as the old say used to be. The pattern in the loom of time begins to be expressive of the weaver as an artist. And so, the artistic person is a transfer form of the individuality of the individual and of the character now brought out or teased out or discovered or developed or matured.
So that the character of experience now is capable of learning. And the individual of integral all of this cycle is complete and am I. Well, yes, one can say A equals A, but how do you get to B? Well, B equals B because A goes to B. And that's how we figure. And all of this is in a completing cycle. Whereas vision coming into play quintessentially changes. Changes the way in which one can express it in that four square framing of integral only. Now there's a fifth quintessential like the thumb appearing, and you have the hand.
And the earliest symbol in art is the hand. And that hand is in two varieties. In the Paleolithic cave paintings going back almost 40,000 years. You see it right away. It's there. The hand can be dipped into a red ochre. There are mineral sources of that. That red. And it's the first color that appears. It appears because by that time, the Paleolithic artists had learned to take blackened charcoal of wood, and eventually they would use minerals that have a heavy manganese content to make the black. But the black figuration now has the red emphasis. And the hand is that emphasis that this is the weaver of the black and the red together to make a picture. A picture not of experience, but a visionary seeing of quintessential ability to see. And it is the person who sees not integrally but differentially. And in the differential, one can see proportions. Fractions. Resonances. One can understand that there is something in rhythm which can be modulated so that you can begin to have a tune that weaves in the rhythm of a drum with a flute that is lyric. And one can begin to have a lute that can weave with the drum. And eventually one learns that one can not only intone but sing. And so, music song becomes concomitant with the person becoming a differential prism of possibilities of creativity.
And about 40,000 years ago, men and women like us very, very similar. They could walk the streets today, clothed in Dior or Armani, and they would fit right in. They were able to be what tradition a couple of thousand years ago began to call jeweled persons. And the first usage of that kind of symbol. Not a simile. Not exactly a metaphor, but a symbol raised to a new radiant quality of dimension, the artistic. So, it's a four dimensions of nature now, with a fifth dimension of vision has a sixth dimension of art. And in a sixth dimensional continuity it's important to see that the triple grading includes a resolving third quality to the braiding.
And in civilization eventually, about 6000 years ago began to discern that there are three-time forms that are now operating. Not just the single time form of nature, but they triple time form of vision raised to art, raised to history as a seventh dimension. Which actually very quickly realizes that the recognition that goes into art and the prismatic artist person who begins then to generate very complex kind of experience, a very complex kind of multiple integrally.
And history then becomes this swift realization that there in fact was a pair that pairs with the hand originally in art. And one finds it again about 40,000 years ago in Paleolithic art. And that is not just the red hand and its symmetric pair where the hand was dipped in, and you get the imprint of the hand in red. You can also see that the hand was placed on the artistic composition. Now, having not only black with the red emphasis, but having a yellow that comes in to play as well, and eventually a little green. And in that composition the hand can be placed on the developing art, on the rock walls of the cave. And even on stalactites and stalagmites of the cave. And the red can be mulched with your sputum, your saliva. And with your breath you can blow on the hand and spew enough so that the imprint of the hand, once it's taken away, leaves the imprint of the hand surrounded by a halo, surrounded by a cloud, surrounded by a spot of red that has an imprint of a hand within it.
And with those two, it became possible to do a third. And that was to take the breath and to form your lips without the hand and to blow a red spot, dot, little blotch onto the walls. And that was like the hand in its symmetry, impress and outline. The dot, the red dot was a symbol of the visionary presence of a spiritual mystery that was helping the artist person shine. To radiate. To be really a gem of a being.
The first time that the gem quality of it was mentioned is about 2000 years ago. There was a very great teacher in Alexandria, witnessed by Philo of Alexandria and written up and one of his many surviving treatises. We have enough treatises of Philo to occupy nine volumes in the Harvard Loeb Classical Library edition of it. And one of those treatises is called Vita Contemporanea, The Contemplative Life. And Philo is an eyewitness writes. This teacher, though young, not gray haired and old, like most wisdom teachers would be recognized and stylized. But a fairly young man, who is able to speak in a very special way in Alexandria, and especially where Philo witnessed him about 25 miles outside along the shores of then a much larger Lake Mariout. And that particular place, not really a city at all. Not really a village, but a place. And it was a place where Osiris was commemorated in very ancient Egypt because Alexandria is in Egypt. Egypt, of course, is also in Africa.
That place was called Tap Osiris Magna because it was the Temple of Osiris dedicated to the fact that this is where he was resurrected. And the ruins of the Temple of Osiris are still there in Tap Osiris Magna. Yes, there are ruins. But the precinct of the temple, which is still there in outlined rubble and stones extant and so forth, are quite large. Enormously large. And it's interesting because the real temple for Osiris is not on the Egyptian Delta, not 25 miles west of Alexandria. But if you followed the rosetta branch of the Nile back to where it joins the other branches of the Nile and then follow the Nile down south into Egypt, deeper into Africa, you would find that the original temple to Osiris, the Osirian, is in a place called Abydos. And Abydos is about midway down the Nile. And it's there at the Osirian that not only Osiris, but Isis, his wife, his resonance, his fellow Divine had their original temple that was the way in which Egyptian civilization, some 3000 B.C., 5000 years ago, was constituted.
It wasn't until the third dynasty of Egypt was founded somewhere around the early 2600's, B.C. 2670, roughly. And the first pharaoh of that old kingdom now recognizing itself is not just an Osirian constellation of civilization but had deepened that it now had an artistic quality of not only six dimensional but a seventh dimensional history quality into play. And because of history, there was an access for the first time. And like a very big disk conscious discovery that there is such a thing as understanding differential consciousness through within the realm of an infinite vision field. And the constellation of a jeweled, radiant prismatic person who is able to create imaginatively in this and to generate remembering so that a history emerges with the art. And out of this comes the resonant concomitant to the arts, and that is the sciences. Anybody who's ever studied the Renaissance knows the old medieval university was completely transformed by the Renaissance university, where the arts and sciences belong together. They are the two hands. This is how conscious human beings transform everything about nature and themselves.
That quality at the founding of the third dynasty moved the center of dynastic Egypt from Abydos to farther up where the Nile begins to have its branches coming out. The site today near there is the great city of Cairo. But before Cairo, there was a limestone ridge quite prominent, a little bit further down the Nile. Not far. Half hour's drive. Maybe a couple of hours walk. That ridge is anciently known as Saqqara, s-a-q-q-a-r-a. Saqqara.
And the founder of the Third Dynasty, his name was Zoser. Sometimes spelled with a D-j-o-s-e-r, but Z-o-s-e-r is easier. And in founding the third dynasty and moving it from Abydos to Saqqara, he began to envision that in Abydos, his predecessors, those two first and second dynasty Egyptian kings, were buried in tombs there called Mastabas that were sort of like very large benches out of kind of pressed, um, Egyptian baked clay. He had a very special person with him who was able to show him that there have been beginnings of not using clay baked, but by hewing stone, limestone especially, is very valuable. And that all of these forays into cutting stone could be brought together in a masterful composition of engineering and of architecture, and could begin then to make mastaba upon mastaba, upon mastaba in height that narrows and narrows and narrows so that you have this kind of step pyramid. And that if one really understands the math dynamics of structure, which a really good engineer architect would understand.
And Zosers helpers name was Imhotep. Imhotep means he, he is, he's the one who comes in peace. The Egyptian word for peace. Imhotep the Egyptian God of medicine. He was in addition to being an engineer and architect, he was also the first physician in the sense that he was really somebody. He wrote the first surgical book. It was a papyrus. It was found. It's still extant. It's in Brooklyn at a children's museum. The Edwin, uh, Papyrus is Edwin Smith Papyrus of Surgical Cases. It has 48 cases. 27 of them have to do with the head. Injuries and so forth. And Imhotep was the author of that. It appears in very expensive if you can ever find it, English translation with the original hieroglyphs and so forth. When I bought a set decades ago, it was already almost prohibitively expensive. Now you can almost never find it. You can go to a very large libraries where it's salted away under rare books and hardly anyone ever is able to really see it unless you're a confirmed expert.
Imhotep also was a musician. He understood the way in which a prismatic structure is not steps of mastabas, but is a pyramid is a shape in and of itself. And that this was not a tomb for Kings or a burial final resting place for now, the Pharaoh like Zoser but would be a radiant form that was able to be a portal of that dot like poignancy of presence. And that chiral double hand of creative imagining, remembering the language now conciliated as a hieroglyphic that could give a new quality of civilization that would emerge. And that the very first true pyramid was built for Zoser by Imhotep. It's called the Red Pyramid. It's still there in Egypt.
And we're going to take a little break and come back. But you can begin to appreciate that in this 2015 year of preparation, some very immense structure that has an architecture and an engineering that has jeweled person radiance is being readied not just to live in, but to live through in a continuity where the new past and the future are not interrupted by death at all.
Let's take a little break.
END OF SIDE ONE
Let's come back to a quality. There is in civilization, not only the four dimensions of nature but a symmetry of four dimensions for that differential field of consciousness that together make an ogdoad, an octave as a scalar of music. A quality where the two thumbs bring into play a ninth and 10th dimension. And in a ten-dimensional cosmos string theory currently calls that hyperspace. So popularized by even someone like Michio Kaku published a book a few years ago on, title of Hyperspace. It is a ten-dimensional continuum. But string theory penetrated to a realization that the recognition of a hyperspace, ten-dimensional transcendental space. Transcendental to the universe even. So, that one goes back to a primordial reality before the universe emerged. And that that not yet understood, actually mysterious is an 11th dimension.
Sometime in the mid 1970's, about 1974-75 there was a Berkeley physicist named Fritjof Capra. And he wrote a book called The Tao Physics. Its initial presentation was just an article. Not in a Berkeley publication, but here in Los Angeles. In Los Angeles, there is a old Zen center. It's towards downtown, towards where Vermont and the Olympic net neighborhood come together. The University of Oriental Studies is nearby there, just a couple of blocks away. And that Zen Center, founded by Izumi R?shi, had a publication, Zen Center Journal. And the original article by Fritjof Capra and The Tao of Physics appeared there. And the very next year, 75 Shambhala Publications, originally from Berkeley, they knew about Capra and his brother, and they published The Tao Physics and became a bestseller. Sold millions of copies.
He was a physicist that was visionary enough to understand that we have broached in string theory astrophysics as of this late, by them it was current, 20th century that this is a familiar mysteriousness. How familiar it was. It is. It was not apparent at that time. That the advance of our astrophysics has taken us to the verge to where we now know that not only do, we not know, it may well be a characteristic of the mystery that it is not knowable. But we can mature to where we can become participant in the mystery. In the mysteries, plural. And have a concourse in hyperspace where we are at home in the mysteries. Anywhere in the universe and beyond.
By 2015, some 40 years later, 40 years in the wilderness, if we use an old mosaic trope. It's possible to begin to understand that this concoursing is a perfect freedom.
We're looking at the way in which the leading up to what we recognize in civilization, because of the way in which time forms of civilization were posited in a foundational way about 2000 years ago. And we choose to unfortunately use it as a divisional before and after. And this is like a zero point. So that before you count down to zero and after you count up from zero. Whereas the mystery is that that zero is also infinite. They are a pair of fields that vibrate symmetrically, chirally to a third field. And that third field is pure presence. It's the presence point, not a zero point. Not a one point.
And that that presence is not defining but serves to give an idea that the time forms and civilization have a quality that is remarkably like energy. And that if we are able to graph energy, we get a kind of a sinuous sine wave. And it can be. Quick **inaudible word**. You've seen seismograph things. Or it can be sinuous like the rolling of the abstract presentation of waves in the Greek intertwined quality, etc. etc. And that there are focuses on that sine wave graphing, in that idea of history as time forms that somewhere around 2500 B.C. an apex of the crest of the energy of the time form of civilization was reached. And it was a startling crest. And exactly at that crest come the pyramids of Egypt at Giza. Three major pyramids. And they mark on Earth on the limestone ridge further towards where the Nile really begins its way of creating the Egyptian delta out of the flow of the single river. Like a spinal column, like a neuro spinal column that blossoms into the brain, the delta of Egypt blossoms out of the Nile. It has an angle of about 36 degrees to the delta. It's the angle of that with the thumb and the fingers and the hand. And another place on the planet has exactly a delta of that degree and that's Los Angeles. It is a quality of the LA Basin that is remarkably resonant, similar to the delta of the Nile in Egypt.
In the Giza pyramids. Those three, Cheops, Chephren and Orpheus. They're also the three stars in the constellation of the belt of Orion. Now the Greek myth trope is always that Orion was a hunter. But in the Egyptian, ancient Egyptian understanding, it means someone who knows how to really not just survive and live, but how to explore in their living the Earth. Because they're able to have a correlation, a correlation of the Earth with the stars above. Dominated in the day by the sun, reflected in the night by the moon, but actually a starry expanse that includes all of them.
And it isn't just up there and down here. The here has a quality of having chirality above and a chirality below so that an overworld is symmetrical to an underworld, another world. So, at the stars and the netherworld have a horizon of meeting in where we live.
So those three great pyramids, those three stars, where the Nile begins, one can see from Giza, not only does the delta spread, but it spreads in such a way that very near to in fact. It's a suburb of Cairo today. But very near to where one from Giza can look across in a special diagonal across the Nile, branching out into the delta, that was the place in which the sun established a concomitant to the pyramids of Giza. That place is called Heliopolis, the city of the Sun. One of the great renaissance utopian classics is, in fact entitled The City of the Sun.
It was there at Heliopolis that the originator of the pyramids was honored as the first high priest of Heliopolis. Who at the very same time was the architect engineer of the first true pyramid. His name we talked about early this morning before the break was Imhotep, one who comes in peace. But the hieroglyphic for Imhotep includes a feather, which is a feather which is the symbol of Maat. And she is the Goddess of justice. Remarkably like the origin of the pen, the quill. Remarkably, not just the feather of an ostrich, because it's especially fluffy plumbable. But originally a tail feather of a fabulous bird called the Phoenix. In Egyptian the term is Benben. The Benben bird is the Phoenix. And the Benben is the column of hieroglyphics raised to a pointer. And the Egyptian obelisk is the outstanding complement at Heliopolis, originally, to the pyramids, which are the beacons. That the tops of the pyramids, especially the three Giza pyramids, were polished. Imhotep as the first engineer architect to bring polished, dressed stone to where one could build a pyramid and have the top so that the topmost part is dressed in such a polished way that it's like a mirror surface. So that when the sun shines when Ra or Rae is a better pronunciation. When Rae is risen to its apex at noon radiating by light to the tops of the pyramids, they glow with a radiance. And because of the Egyptian air and its inversion, very much like Los Angeles, where you used to get smog because of the inversion here too. In Egypt, the inversion there around Giza and Heliopolis would make the pinnacle of the pyramids, the pyramid of the obelisk shine like a burst of light. And in that inversion, one gets in the heat a mirage.
And one can see the mirage of the pyramid eyes of the ancient Egypt, way out in the Western Sahara Desert. Long way out. Because there's a special area that another 50, 60, 70 miles begins to be a landform called the Qattara Depression. It's very, very deep. It's deeper than the Dead Sea. And because of that, the Qattara depression hosts a mirage that can penetrate into the Western Sahara all the way to a huge oasis complex called Siwa where the temple of Amun Ra, Amen Rae. From Amen we still get the word Amen. The final word of divine and the first recognition of divine being able to be spoken and written and read.
This is called maturity in civilization that one can learn. One can transform any tradition, any custom, any tribe, any quality of particularity that goes to even completion. One can transform completion into perfection. This is called a release into a high Dharma truth. So, one used to use the phrase truly, truly. Twice transformed. Yes, truly, truly. Three times. Thrice greatest. A triad. A Trinity. A way in which that spirit presence becomes holy, which is a double name, which is a resonance of a chirality paired. So that the whole magnetic energy of the field wraps its double helical way, like a DNA around an RNA vector of multiple creativity. And genetics is based not just on DNA, it's based on how they RNA translates the DNA into relationality. Translational is the original term in genetics. How the DNA through the RNA makes proteins, which takes the alphabet of amino acids. I think there are 22. And can make any kind of words of translational life apparent. It's actually quite simple.
Imhotep was the high priest in Heliopolis. He was also the architect engineer of the first pyramids. He was also revered as the God of medicine and wrote the first textbook in the world on surgery. Edwin Smith's papyrus still extant in Brooklyn Children's Museum if you can imagine. And Imhotep was African. He was a black African like Djoser, was also African. Had a quality of genius that came up to the apex of the way in which the desiccation of the whole northern part of Africa, eventually into the Sahara Desert, left pockets of oases. There are about four great pockets and Siwa is one of them. It's the farthest out. Farthest western. When somebody talks about the pure land in the West, which is the archetype in the Mahayana Buddhism, that this is where the Holy Land is. It's in pure land of the West. It's that way in Egypt too, 5000 years ago and still.
One can understand that that renaissance of 2500 B.C. had a culmination of return back to that RNA dynamic horizon of the way in which the translational written quality is able to bring the various aspects of the alphabet of amino acids into the tens of thousands of proteins that are able to be used in life forms of any kind. Even lifeforms that become conscious of this to the extent not only of science but of operating in a hyperspace to an 11th dimension fertility that mysteriously is able to fertilize pure field zero. The pure field zero becomes fertile and what emerges first is time as a dynamic. And because time now quote exists instantly, space blossoms its three dimensions and the whole shebang, as they used to call it. Timothy Ferris used that as a book that came out very much related to The Tao of Physics, right afterwards. And he did a huge picture book that the Sierra Club published. And it was simply called Galaxies.
And so, one had by 1975, The Tao of Physics and Galaxies and one could see that all of this is now discoverable. And by 2015, we understand that there are not only clusters of stars, there are clusters of galaxies. And there are major clusters of clusters of galaxies spanning more than a billion light years. And we live in one of those called Lanikai, a Hawaiian word for the mystery of the allness, super allness, uber allness of perfection perfected. Because those first indications of it were a pair of Cairo eyes. They kept ten-meter telescopes on the top of Mount Mauna Kea, and we have come by 2015 quite close to launching a new quality of science by before the end of this decade. That telescope dwarfs the Hubble telescope. Dwarfs the Keck telescopes. Dwarfs all the telescopes in Chile and elsewhere in the world. It's called the James Webb Space Telescope. And it will not be on a mountain in a climate on Earth or in orbit around the Earth, but in the orbital quality of the Earth around the sun, a million miles in pure space. At a point where gravity is equalized between the sun and the earth in its chiral dynamic orbit around the sun. And these are called Lagrange points. There are Lagrange points at 60 degrees before the Earth and 60 degrees after and between the Earth and the moon and beyond. And these are points where gravity is not nullified but is equalized to the point of zero dynamic. And by placing a telescope there, it will remain there as long as the Earth remains in orbit around our star. Be nice to service it for things that will need servicing and that will come up.
What we're looking at is the way in which these records have surfaced in our time within our lifetimes, in a sense, where we can begin to understand by learning on a very large, chiral, symmetrical scalar. One of the really great books is a part of a set. There are about six or seven volumes in the set. They're all brown like this with a beige cloth, and it's called the Egyptian Religious Texts. This is Volume Five. And it's in a whole series, the Bollingen series. The Bollingen series was founded and conceived by a woman named Mary Mellon. Her husband, Paul Mellon, inherited a many billions of dollars and she had a difficult time in her life. And she found learning resource in Carl Jung and actually visited him in Zurich with her husband. And they set up the Bollingen Foundation. Bollingen was the is the name of Jung's country house outside of Zurich on the lake.
This volume is called The Pyramid of Unas. Sometimes more preferred now that his name is Wenis. W-e-n-i-s. But Unas is the, the best. It is text translated with comment...commentary by Alexandre Piankoff, and this was published in 1968, posthumously. Piankoff died in the summer of 1966. I remember very vividly.
Unas is the first pharaoh to build a pyramid that hieroglyphics were able to be inscribed inside the pyramid. He built the first **inaudible word** in Imhotep's existence, and he did this about 2350 BC. He did this so that we can see that there was a period of about 350 years between the first real pyramid maturing into the Giza pyramids, maturing at the very end of the Old Kingdom. The first two dynasties were never a part of the old Kingdom. Djoser and Imhotep established the Old Kingdom. The original kingdom.
It's not about them. It's not about that. About Osiris and the Mastaba. It's about Osiris and Isis, who patched together the 14 parts of the dead, murdered, ravished Osiris. Ravished by a jealous Seth, an evil God. Jealous. And dismembered the body and buried them in various parts. And it was his chiral pair symmetry Isis who searched around and found the various members of Osiris and remembered him. So that he was not only rememberable he was remembered resurrection ally. At Tap Osiris Magna, about 25 miles west of Alexandria.
That 2000 B.C. coming from the renaissance of 2500 B.C., set a radiant quality to the archetypes of the transforms of the time forms of civilization. So that 2000-year return back to that horizon, that zero horizon where the dynamic of time is not negated, but it is in perfect balance, like the James Webb telescope. It's in orbit with, with the Earth around the star so that it is literally its own kind of planetary auxiliary in the star system. Which means that it is dynamically astrophysical, mathematically related to the entire star system. It is a star system telescope, not an earth-bound telescope. It is man coming in his maturity to inhabit the star system. Not just this world. And not some kind of interplanetary what if what if. And not just some quality where machines go out and give data back painstakingly, but of a species that is at home in the whole star system. And looks out the front door, the windows and sees the backyard as an interstellar frontier is quite open and available.
Piankoff was aided in the series because the Bollingen Foundation were not particularly ready for a big set. Expensive. It took decades to really put all of it together. Very expensive. But because Piankoff had a helper, and her name was Natacha Rambova. And Natacha Rambova was very much in tune with Mary Ellen, the very foundation of the Bollingen Foundation. And she was originally she was a ballerina, but so tall that she had difficulty being cast in ballets. She was magnificent. She, her mother was maiden name, was a Kimball and she was Mormon. Descendant. Kimball was a descendant of the original Mormon immigrant Kimball, Heber C. Kimball. One of the real elders of the church. And she was beautiful, like Natacha. She had four husbands eventually. They died and so forth. And she was still in in demand.
And Natacha became famous as a young woman. She was stunning. Had those pale blue, dreamy eyes that were present until she married Rudolph Valentino, who, together with her, found that they shared an artistic elan. But eventually he wanted children, and she did not. She wanted to be free to create. And she was masterful at creation. She designed the sets for the ballets as well as she could be the ballerina who would dance in them and the costumes and all of it. And so, they eventually went their separate ways. And Natacha never married again, except once to someone who was likewise not understanding her really mature spread of creative artistry and deep remembering going back not only into the deep past, but the deep new past because the very deep, even deeper new future. That continuity was a part of the tensegrity of her very being. And she was an Egyptologist of the first order. And she helped do the translation and the collation and the interpretation and the commentary. So that Piankoff and her together as a tuned pair were able to do this whole series on Egyptian Religious Texts.
And the pyramid of Unas in 2350 B.C. that had hieroglyphics on the inside of the pyramid was related by Philo 2000 years ago as being something that the young teacher at Tap Osiris Magna and in Alexandria was able to do with his voice. He was able to speak in such a way that it went through the hearing of the ear. It went through the recognition of the mind in its visionary quality and artistically was able to engrave the words upon the inside of the shape of the mind. Philo says this of the young teacher at Tap Osiris Magna as an eyewitness about 14 A.D. almost 2000 years ago to the day. To the year.
When we come next week, we'll take a look at the way in which there is a monumental recalibration to civilization that has been in process now for quite some while and has come again to a kind of a carrier wave that looks back and sees that 0 B.C., 1 A.D. and 2000 A.D., are not quite exact. And one can get quite exact now, as we've been talking about. And we can see that we are right about where 1480 A.D. used to be. And 2015 shows itself the kind of promise that is going to be there in our lifetimes.
More next week.
END OF RECORDING