Recycling Mobile Phones

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The All

The All (also called The One, The Absolute, The Great One, The Creator, The Supreme Mind, The Supreme Good, The Father, and The Universal Mother) is the Hermetic or panentheistic view of God, which is that everything that is, or at least that can be experienced, collectively makes up The All. One Hermetic maxim states, "While All is in The All, it is equally true that The All is in All. " The All can also seen to be androgynous, possessing both masculine and feminine qualities in equal part.

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Seven Steps Of The Philosopher Stone Formula

Although the alchemists went to great pains to conceal the true order of the steps of the formula for making the Stone, the correct order according to the Emerald Tablet is: * Calcination, * Dissolution, * Separation, * Conjunction, * Fermentation, * Distillation, * Coagulation. The first four steps take place Below, in the realm of matter. The last three steps take place Above, in the realm of mind and creative imagination.

BLACK WORK

1. Saturn / black crow perching on top of a skull / Visita = Putrefaction 2. Jupiter / black crow watching itself dissolving / Interiora = Dissolution

WHITE WORK

3. Mars / two white soul birds retrieving the remains / Terra = Separation 4. Sun / ascending soul & spirit birds leave Earth and lift the five-spiked crown / Rectificanto = Conjunction

RED WORK

5. Venus / soul & spirit birds nest in a tree and brood over their egg / Inveniens = Fermentation 6. Mercury / unicorn lying in front of a rose bush / Occultum = Distillation 7. Moon / androgynous youth emerging from an open grave / Lapidem = Coagulation. The telemic process is subdivided in different phases. In general, a sevenfold was chosen, corresponding with the seven planets known in antiquity. Various other sevenfold classifications were used : the days of the week, the seven "Artes Liberales", the seven gifts of the Holy Spirit, the seven deadly sins, the seven ways of holy love, the seven heavens, the seven hells, etc. The habit of publishing bogus correspondences, assisted the occultation of Hermetism, but served well as a protection device. It was Jung who, in the previous century, showed that the discipline is psychological & spiritual, rather than physical or technological. As a spiritual discipline, alchemy differs from the other traditions. Its use of physical objects & their properties, to convey spiritual & philosophical teachings is unique for the Egypto-Alexandrian model, rooted it the Hermetical postulate, and indeed leading to admirable practical realizations.

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About Alchemy Poetry

Poetry, like alchemy, is largely ignored, and is effectively marginalized from mainstream culture. Most people couldn't care less about either artform, and yet both house so much of value to humanity. Poets, like alchemists, are dwellers on the fringe; often characterized, somewhat tragically, as undesirables, freaks or lunatics. Poets are interpreters of, as A.E. Waite put it in his little-known masterpiece, Azoth; or The Star in the East, “the unrealizable beauty of That Which is behind the veil,” doing so ‘by the graciousness of the veil.” As he so eloquently states: “In this matter the poets are our only interpreters – that is, legitimately – because the problem is outside science, which is concerned with the veil alone; and it is outside ordinary philosophy, because ordinary philosophy has affirmed that the reality is unknowable; and the best conclusions from analogy are to be learned of the masters of analogy, of the kings of interpretation, of those who see furthest, who possess that intuition which is the deepest instrument of supersensual research, and is in fact that higher faculty, that sixth sense, at which we have already hinted, which we now openly affirm is par excellence the mystical instrument. Those only who are in touch with poetry can have part in the life to come. It is therefore eminently, and before all things necessary, that we should see after the manner of the poets, and the mystical philosophy of Nature is to be found in them.” Writing poetry for more than ten years, I have explored poetic styles, starting with early lyrical and confessional works, and gradually drifting across the dream-sea towards less sentimental shores, to the sometimes chilly Intellectual islands of language poetry (langpo) and other post-modern, non-traditional and non-narrative forms where the reader plays the significant role of extracting – or perhaps even allocating – meaning from a poem. The ‘true’ meaning of the poem is often hidden or encoded within multi-layered, largely unpunctuated, stream-of-consciousness-esque flow of allusive words and sentences and phrases and images ... not always images, but with my own poems, I tend towards image-scapes. One might call them image-puzzles; telling some kind of exoteric 'story' on the surface, but obfuscating the true meaning. In this sense, my poems are acts of the occult, whereby I tantalize and stimulate language lovers (i.e. the mind) but shield or disguise the truth (i.e. the pearl, the heart) – a kind of poetic 'Green Language' tapping into various Traditions and lineages in contemporary Australian and North American poetics.

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Pseudo Geber

Pseudo-Geber is the name assigned by modern scholars to an anonymous European alchemist born in the 13th century, sometimes identified with Paul of Taranto, who wrote books on alchemy and metallurgy, in Latin, under the pen name of "Geber". "Geber" is the shortened and Latinised form of the name Jabir ibn Hayyan, a renowned 8th century Islamic alchemist. In Europe for many centuries it was assumed that "Geber" was identical with Jabir ibn Hayyan and that the books had been translated from Arabic. Arabic alchemy was held in high esteem by medieval European alchemists and so was the name Geber, meaning Jabir ibn Hayyan. Some Arabic writings attributed to Jabir had been translated into Latin during the 11th to 13th centuries. (Once again, however, some of the Arabic writings attributed to Jabir were actually written in Arabic at a later date than the lifetime of Jabir, who died 815. ) The Latin writer Pseudo-Geber probably adopted the name of his illustrious predecessor in order to capitalize on his reputation. That is called pseudepigraphy, and it was not at all uncommon in the medieval era. For example, a wide variety of medieval writings were distributed with the illustrious Aristotle as the stated author; see Pseudo-Aristotle.

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