In his book, A Dictionary of Symbols, C.E. Cirlot makes reference to an alchemical work called the Symbola Aureae Mensae, in relation to the symbol of the double pumpkin or gourd.
Pumpkin or Gourd, Double A Chinese emblem of Li T’ieh-kuai, the second of the Eight Immortals… He was also symbolized by a column of smoke. But this symbol of the twin pumpkin is very far from being limited to the Far East; it was also common in the West. Among other respresentations, the frontispiece of Book II of Maier’s work on alchemy, Symbola Aureae Mensae (1617) shows us the twin pumpkin in the form of two amphorae, with the top one up-ended. The surprising thing is that this image also incorporates the above-mentioned symbol of the column of smoke joining the interior of the lower amphora with the upper; in this case there is not just a single column, but a ring of smoke circulating between the mouths of the two amphorae.
The Twin Towers are a symbol of the link between the two worlds––the upper and the lower–– and are further associated with the double pumpkin through the column of smoke which accompanied their destruction. The destruction of the Twin Towers could therefor be redefined as a smashing of the twin gourd or pumpkin. This got me thinking of another connection I made; months ago, concerning the Chicago-based band The Smashing Pumpkins, the French high wire artist Phillipe Petit and his daring cross between the Twin Towers on August 6th 1974. After he made the crossing a journalist asked Petit why he had done it. He responded instantly in his broken English, “There is no why.” There is a song on Mellon Collie and the Infinite Sadness––the Smashing Pumpkins third album––called Here is no why that may have been influenced by this obscure one liner. Confirmation of such a connection can be found in some of the lyrics of the song, in particular the lonely towers of long mistakes. Incidently, the use of the word ‘mellon’ as a pun on melancholy shows that the band still seeks to be associated with these gourd-like vegetables, despite claiming that the name of the band ‘is a joke’ and that the title of the album is “pretensious”. Maybe so, but it doesn’t negate the fact that these are very real and long standing themes running through the work of this obfusticating and contradictory rock-group.
It should also be noted that the two gourds or amphorae are symbolic of the Holy Grail, which was associated with the Twin Towers in Factoring Norah. In Aleister Crowley's mystical system of the Thelma, the goddess Babalon is associated with the grail and the gateway to the City of the Pyramids. The Twin Towers stood as a type of gateway and, as noted in the last post, their design was informed by the Egyptian pyramids of Giza. Babalon gaurds the Abyss, the area where the planes flew into. The column of smoke arises from the ash flying into the air and the air falling into the ash, as in the Eyjafjallajökull Eruption. The oil rising in the warter causes the sinking of the water, as in the Gulf of Mexico Oil Spill. The rising of the Scarlet Woman, Babalon, causes the sinking of ignorance.
In the Smashing Pumpkin’s second album, Siamese Dream, the theme of the twin pumpkin continues. A siamese dream is a poetic term self-coined to describe a shared, or collective, dream-state among individuals. If we submit that two people can occupy the same dreamscape whilst sleeping in separate bedrooms; what about different countries, different time zones; or even remote time spheres? Given the lack of temporal restrictions documented in the subconscious world of dreamtime, it may be possible to communicate with people in the future, provided they have been briefed in advance of the rendezvous. The conscious mind filters out the majority of the information contained within the environment at anyone time. This handy technique allows us to focus on the work at hand w/ paying heed to any would-be distractions. The same function which allows you to retain a narrow focus on events in the phenomenal world, naturally permits you to maintain a narrow focus on the passage of time; as these are one and the same thing. This limited perception of time, which we collectively refer to as the present, is comparable to a standing waveform which permits us to experience the world without temporal bleeding or overflow. Can you imagine how difficult things would become if we somehow lost our faculty to remain grounded in a continual present? Simple undertakings like baking a cake (if this undertaking can be considered simple) would quickly become life changing, harrowing experiences. Imagine, if you will, you have just prepared all of the ingredients and are about to put the cake in the oven, when time skips forward and the cake has been burnt to a crisp. Happens all the time, you say. But then, time reverses and you are flung back to a point before the idea of baking a cake has even sprung into your mind. You have to go back to the shop for a second time if you want to follow through on your commitment and bake the cake. Now, halfway through cooking the dinner and, suddenly, its Thanksgiving. You have an entire family to feed, but you only cooked fish fingers; a Nightmare.*
*Sci fi writer Kurt Vonnegut describes a similar set of circumstances in his 1969 novel Slaughterhouse 5, wherein the main character “comes unstuck in time.”
Our unconscious mind; on the other hand, has no limit on its information processing capacity. With a simple glance it can take in the position, texture and chromatic compatability of every object in a given area. It is therefore not entirely beyond belief that a genius intellect such as this could discern probabilities of outcome based on the most meagre snippets of information from the present. If an instant of time for the unconscious mind encompasses every tangible ounce, every scrap and flavour, down to the very dregs of 3-dimensional space, then it must be assumed that it can summon these incredible perceptive faculties to peer beyond the veil of time and into the future beyond. Just as our own attention can wander from the task at hand, so it can wander from the conscensus sphere of time; known as the present, and when this occurs visions of things not yet realised are the result. However, it must be said that visions of this nature are far more likely to occur during REM sleep, when the unconscious mind begins to roam the 5th and 6th (alternate) dimensional realities.
Having said all this, the possibility that two people could share the same dream-time while existing in different time frames seems all the more plausible. The applications for such an eventuality have their obvious advantages e.g. in transmitting information across temporal boundaries. A possible synopsis for the intended use of this technique is as follows;
Let's say I am working for a secret governmental time research agency. I am not, but let's say I am.
On the morning of September 10th 2001, a governmental agent, who is a colleague of mine, delivers me an envelope. I am instructed not to open it; but from previous exercises I know that it contains a photograph of someone whom I have never met before and has, in all likelyhood, been dead for quite some time. In actual fact the envelope contains a photograph of a female operative codenamed Albatrose. The photo is ten years out of date. That night, as instructed, I place the envelope under my pillow. Before I go to sleep I focus on the contents of the unopened envelope, while emptying the contents of my mind. This opens up a conduit to Albatrose: a shared dream state existing both in 2001 and 1990 simultaneously. This brings a whole new meaning to the term 'sleeper agent.' As directed, I impart the information concerning future events. The following day the world has changed forever, but the time research program doesn’t bat an eyelid. Soon after another of my colleagues recieves an oneric message from the year 2012. This message was sent by one of the operatives in my department, this is known for sure. But the details of the message are kept secret to ensure the success of the mission. This policy prevents any temporal paradoxes arising from advanced knowledge of the message.
End of synopsis.
An oft referred to event in articles on Pearls of War is the 17 minute delay-interval in the 9/11 ASR (Alchemical Solar Ritual), as occurring between the North and South towers being struck by their respective planes, and this article is no different. The 16th song, on some versions of the Smashing Pumpkins 4th album Adore, is called 17 and last for only 17 seconds. The number 17, as we know, is of the utmost mystical import to occultists and alchemists alike and its charms have obviously not escaped the exacting eye of singer/songwriter Billy Corgan.
Here is a picture gallery of album art displaying the similarities between the band’s aesthetic and the Rosicrucian alchemical works of the 17th Century.
Mellon Collie and the Infinite Sadness Inside Cover Album Art.
Symbola Aureae Mensae; Sun and Moon.
Symbola Aureae Mensae; Here is one 'Y'.