Introduction to Avalonian Aeon Blog Talk Radio

I am returning to the Blog Talk Radio format. After changes in their programming earlier this year, meaning that the potential hour of free broadcasting had been reduced to 30 mins, I wondered if my information-dense presentations could still be effective. This has led to a rethink and the initial result is now available.


Intro to Avalonian Aeon: Synchronicity and Destiny.

My most recent book massively features Glastonbury, Crowley, Psychic Questing, and 2012 but its fundamental themes are the mystery of destiny, the glimpses we catch of it through synchronicity, and what that means about the nature of our true identities. In this half hour, I shall discuss some aspects of the work of Whitley Streiber and Carlos Castaneda and the possibility of playing games with synchronicity to provoke it. Although an extended advert for the book, the material featured stands in its own right as capable of provoking deep processes.

Listen to it here:


http://www.blogtalkradio.com/paul-weston1/2011/06/13/intro-to-avalonian-aeon-synchronicity-and-destiny

Movies, Mind, and Magic Blog Talk Radio presentation

Another of my Blog Talk Radio lectures is now available for listening.

Movies, Mind, and Magic features some material featured in Avalonian Aeon and a lot of fresh stuff that I feel is rather interesting.

TV, movies, and novels as magical reality. A Hollywood Babylon Synchronicity Working.Bizarre, hilarious, and terrifying personal stories of new possibilities. Featuring Twin Peaks, Robin of Sherwood, DW Griffiths Intolerance, Lovecraftian horror, and a preposterous finale combining Kenneth Grant, Jack Parsons, and Baywatch!


http://www.blogtalkradio.com/paul-weston1/2011/01/23/movies-mind-and-magic

Time Shift: Casting the Dreamspell

Arguelles 2012 Circumpolar Rainbow Bridge.




‘Self-divination is the Art form of the Dreamspell. Through self-divination, you become your own authority in charge of your own destiny.’
‘Who owns your time, owns your mind. Own your own time and you will know your own mind.’



Jose Arguelles.




Following on from my previous post on the archaic consciousness of New Year celebrations, here is another extract from my Avalonian Aeon dealing with the mystery of time. This section is an edited version of material discussing a period in July 1992 that Jose Arguelles believed was an important moment in the larger process of the huge cycle set to culminate in 2012.

The weekend of 25th/26th July was promoted as a global New Age event that formed a kind of Part Two to the “psychic Woodstock” of the 1987 Harmonic Convergence, the extravaganza that had first drawn popular attention to the Mayan calendar.

In preliminary promotional material, Arguelles offered a prophetic critique of the established calendar and the way it dictates our relationship with Time. He referred to the current “third-dimensional timing frequency,” of “12:60.” We have a 12 month year and a 60 minute hour. This has been determined by the 360 degree circle rather than the natural orbits of the Moon and Earth. The western Gregorian calendar mechanised Time. “By the beginning of the 17th century, the 12:60 timing frequency was in place, creating a purely third-dimensional mental bubble around the planet. Thus was made possible the revolution of scientific materialism, followed by the Industrial Revolution, and, in quick succession, the various democratic and socialist revolutions of the past two centuries. All of these 12:60 clockwise revolutions have been accompanied by a staggering increase of human population, a rapid spread of materialism, and the environmental pollution and degradation of the current world crisis.”







He believed that our calendar has played a major role in the current global crisis. “The entire purpose of education and socialization in the modern world is to fit children into a 12:60 slot so that they can carry on the burdensome business of materialism”, which Arguelles called a “Time Drug.” “Time is money”is based on the 12:60 ratio. Everything is valued according to how much you can get out of 60 minutes.” Reforming the calendar would literally change Reality. Arguelles announced “the Time Shift, July 26, 1992----the moment when the 12:60 frequency attains maximum entropy.”

The Dreamspell Peace Plan was inaugurated in which people, “agree to follow the 13-moon calendar, effective July 26, 1992, the Time Shift. The 13-moon calendar measures the solar year according to thirteen perfect months of 28 days each. The 12-month Gregorian calendar (the current global standard) distributes the thirteenth month as 28 extra days randomly added to eleven of the twelve months. (One extra day, the 365th, is accounted for in the Dreamspell as Green Day, July 25.)” This would enable the human race to make “the transition from 12:60 third-dimensional time to 13:20 fourth dimensional time,” best represented by the Mayan 13 x 20 Tzolkin.

It was interesting for me to contemplate how the nature of the messenger can determine how and where their message may be heard. If some of Arguelles ideas on the 12:60 Time is Money matrix had been espoused by some French Neo-Marxist post modern types like Derida or Baudrillard they would probably be taught on university courses by now, having become part of political debate. It hasn’t quite worked out that way but a zone of interface between different ends of the philosophical spectrum can sometimes be discerned.









Beyond the strange mindset of New Agers, with the approach of the millennium, a general theme of “Endism” was emerging amongst post-modern cultural theorists. One major work saw the theme break the surface of the mainstream that very year and generate ferocious debate. In 1992 American political theorist Francis Fukuyama published The End of History and the Last Man, a completed form of arguments that had initially appeared in journals a few years previously. It’s quite interesting and instructive to compare and contrast him with Arguelles. It was mighty strange to see their two apparently divergent perspectives appearing about the same time. Fukuyama likewise pondered the extraordinary rate of change best represented by the fall of the Berlin Wall and Soviet communism. He also felt that a huge epoch had culminated. In this case though, Fukuyama came to strikingly different conclusions. He believed that, rather than indicating the demise of the 12:60 reality-tunnel, such events were in fact a sign of its ultimate and most worthy triumph. American capitalistic liberal democracy cannot be improved upon. It represents the ultimate perfection of human culture and all other systems will inevitably fail before it. The only worry for Fukuyama was that the Last Men of his title might find such perfection a tad boring and maybe be dumb enough to restart the general nonsense of history for want of something better to do. Little episodes like Stalin’s Russia and Nazi Germany were minor aberrations on the obvious road to perfection. Howls of protest and derision greeted Fukuyama but he remained unphased. He continues to affirm his theories in the present day, 9/11notwithstanding.




Fukuyama





Some post-modernists rejected anything that could be called a “meta-narrative,” a bigger picture that explained why history and cultures worked the way they did, whether it was the Bible or Karl Marx. Crowley’s Aeon of Horus was a meta-narrative. The Mayan calendar likewise. What the PoMo contingent didn’t seem to grasp was that any concept of an era that was “post” something previous was also a meta-narrative. I found both Arguelles and Fukuyama to be part of a bigger picture that Eliade had outlined for me a decade before. It was that old theme of the ending and regeneration of history/time.








A more recent presentation by Arguelles










The book can be bought here.

http://www.avalonianaeon.com/container/buythebook.html

Eternal Return: the New Year dreamtime

Each year during the solstice New Year dreamtime I am acutely aware of the dissolution of the societal consensus co-ordinates and the outbreak of an archaic mythic consciousness, albeit one that the majority of its votaries are essentially unconscious of. One work has been primarily responsible for this perception which has helped me navigate the grossness of the popular culture christmas and connect to the primal pulse behind it. Here is an extract from my Avalonian Aeon that sings its praises, discusses the spring equinox Babylonian New Year festivities, makes a few suggestions about Glastonbury, and affirms that some forms of neurosis might eventually prove useful. Having read the material, the reader may understand why I have reposted it again from its initial appearance at the same time last year.



Mircea Eliade










My contemplation of time was hugely stimulated in early 1982 by reading Mircea Eliade’s The Myth of the Eternal Return. I have been strangely perturbed by time since I was a small child. I can first remember it in relation to the Batman movie in 1966, when I was seven. I used to watch the TV series and saw that a movie was in the offing. I thought that there was something weird about feeling that I would probably get to see the film and that would be in the future. When I was actually in the cinema it would be the present moment and then it would rapidly recede into the past. I tried to imagine looking back from months later, on this event that was still some way off, and feeling it as long gone and also remembering when I had first thought of the whole sequence. All the way through the run-in to seeing it, I kept returning to this pattern of thought. I eventually saw the film on a Thursday. From that point on, every subsequent Thursday for some time, I would stop to ponder that it was now one week since seeing Batman, two weeks, and so on up to about nine, before I dropped the whole thing.

There was something mysterious about time that I just couldn’t get my head round. Over the years I developed a lot of neurotic obsessive behaviour around dates and anniversaries. I used to note when I’d watched some rubbish movie on TV by circling the date on my calendar and then counting off weeks and months away from it. I can still remember to this day that I watched The Purple Mask, starring Tony Curtis, on November 23rd 1971. The apex of this derangement occurred in 1972. Walking to school, on March 24th, I noted some horse manure in the road. I idly wondered how long it would be before the passing of cars and the weather removed every last trace of it. I duly made a circle on my calendar and noted the gradual diminishment of the pile of poo. Miniscule amounts of it still remained there a year later. I realised I was undoubtedly the only person in the world who a) knew that there was a tiny amount of horse manure in a crack in the road, and b), had a record of the date it had been deposited. Fortunately I went into a kind of spontaneous remission after this event, perhaps unconsciously realising that to go any further in that kind of direction was not a good idea. Nonetheless, the general thing about time persisted.

In other respects this strange mental functioning did serve me well. By the age of ten I had got all of the main dates of the history of the two world wars indelibly memorised. The whole sequence of Hitler’s expansionist policies from the remilitarisation of the Rhineland through to the attack on Poland was quite clear to me and I found it totally bizarre that my father, who had fought in the Second World War, got confused over what had happened in what order. Round about the age of eleven, my mania for history was sidelined by a passion for football. I pored over Rothman’s Football Yearbook like it was an arcane scripture and used the data therein to reconstruct England teams from the 1890s. In 1972, the year of the centenary of the FA Cup competition, I had memorised the teams and scores of every single FA Cup Final. A lot has now faded but it’s surprising to me how much I still retain. I didn’t realise it at the time but all of this was providing me with invaluable intellectual foundations and a general emotional disposition in relation to information. It wasn’t just dull neurosis. I was passionate about my interests. I felt a strange contempt for people who were merely lukewarm about their lives.

With the reading of Eliade a great elation overcame me. I discovered other ways of experiencing time that seemed to validate at least some of my personal rituals surrounding it. It seems entirely natural to believe that time moves in a straight line, from the past, through the present, and into the future. This is the process of history. The Bible contains such a cosmology. There was a beginning of time, with God’s creation of the universe, and there will be an end of it. From Genesis to Revelation. Common sense appears to bear this out. Our bodies age in a clearly linear sequence. The path from infancy to old age and death seems obvious and apparently inescapable. The deeds of our long vanished ancestors are in the past. The days of Stonehenge and the pyramids are gone, never to return. There is, however, a significant part of the life of the world that is repetitive. On this planet we have the cycles of day and night, the returning seasons, the movements of heavenly bodies in the sky. Nature appears to teach that what disappears will return. And there are many people, even in modern technological societies, who have strong experiences suggesting that they may have lived before this life, that something of them is eternal.

Western civilisation, with its servant science, has been so successful, has demonstrated so many tangible results, that other ways of experiencing time and history have been all but forgotten. Pre-industrial traditional societies often demonstrate a profoundly different worldview. “Neither the objects of the external world nor human acts, properly speaking, have any autonomous intrinsic value. Objects or acts acquire a value, and in so doing become real, because they participate, after one fashion or another, in a reality that transcends them.” That greater reality consists of the deeds of deities and mythic ancestors, which represent the blueprint for all subsequent actions in a culture. “In the particulars of his conscious behaviour, the “primitive”, the archaic man, acknowledges no act which has not been previously posited and lived by someone else, some other being who was not a man. What he does has been done before. His life is the ceaseless repetition of gestures initiated by others.”

Construction rituals recreated the cosmogonic act. An archetypal model was imitated. Sacred centres in tribal lands establish divine harmony by bringing down to the earth the celestial perfection. Locations in Egypt, Sumeria, and central Asia were supposedly mapped out firstly in the sky, and then brought to earth. Settlement in new, unknown, uncultivated territory was equivalent to the divine act of creation. Chaos was transmuted into cosmos. “Man constructs according to an archetype. Not only do his city or his temple have celestial models; the same is true of the entire region that he inhabits, with the rivers that water it, the fields that give him his food etc. The map of Babylon shows the city at the center of a vast circular territory bordered by a river, precisely as the Sumerians envisioned Paradise. This participation by urban cultures in an archetypal model is what gives them their reality and their validity.”

A large section of the book deals with the topic of the regeneration of time. Every culture has had a concept of the end and beginning of a temporal period and ways of acknowledging it. Many are profoundly different to what we are now used to. Traditional cultures have periodic ceremonials for the annual expulsion of demons, disease and sins, amidst rituals for the days on either side of the New Year. The expulsions are part of a process that literally abolishes the past. There is an “attempt to restore, at least momentarily, mythical and primordial time, “pure” time, the time of the instant of the creation.” Every New Year is a resumption of time from the beginning, that is, a repetition of the cosmogony.








The clearest examples of all this come from Babylon. Their New Year ceremonials, known as the Akitu, seem to have kept a basic form that dates from the earliest Sumerian times. They therefore represent the earliest “historical” civilisation. The Akitu lasted twelve days. During this time the creation story, the Enuma Elish was repeatedly recited in a Temple of Marduk. He had become the principal Babylonian deity. It was said that the creation of the world and the human race had come about as a result of his combat with a primordial water serpent of chaos named Tiamat, who he had slain and then dismembered, using her severed pieces to make earth and heaven. (Devotees of the Goddess may feel that Tiamat has been unfairly treated. She was originally conceived of as a womb of creation, an essentially benevolent force. The Marduk story could be taken as an example of patriarchal forms violently supplanting an older matriarchal culture.) Actors mimed the epic saga. The most important point is that they weren’t just commemorating the events in the creation drama, they were repeating, actualising the cosmogonic passage from chaos to cosmos. “The mythical event was present: “May he continue to conquer Tiamat and shorten her days!” the celebrant exclaimed. The combat, the victory, and the Creation took place at that very moment.”




Marduk and Tiamat





The Akitu also contained a festival of fates known as the Zagmuk. Omens for each of the twelve months of the coming year were determined. In effect this helped to create the year. It was “a period of chaos when all modalities coincide”. All of the normal conventions of social behaviour were dissolved. The dead were allowed to return. There were orgies, the reversal of social roles (slaves as masters etc), feasting, “a reversion of all forms to indeterminate unity,” “a repetition of the mythical moment of the passage from chaos to cosmos”.








The king embodied divinity on earth. He was responsible for the regularity of the rhythms of nature. In the New Year ceremonials he had the duty of regenerating time. It all concluded when he ascended a ziggurat step pyramid to a temple on its summit. Here he engaged in a rite of sexual union with a sacred hierodule priestess who embodied the Goddess. In this it could at least be seen that something of the significance of the Goddess remained. Here was a tangible acting out of the rebirth of the world and humanity.

Similar conceptions of time are present throughout the ancient world. They can be found, in varying degrees, in Vedic India, early Rome, Germanic tribes and amongst the Egyptians. I have a very strong sense that our Christmas and New Year festivities contain many survivals of the archaic mentality. In the rites of mistletoe and the office party, in the feasting and drunkenness and auld lang syne, were the modern forms of the Akitu. Quite clearly they served profound human needs. There seemed to be a cyclical sense of dissolution and regeneration in all this. The psychology of the New Year’s resolution speaks clearly of it. A new year carries something of the feeling of the possibility of an abolition of the past and a genuine new beginning. I had some knowledge of the origins of much of the Christmas mythology, the presence of Roman and Norse elements, the case for Father Christmas as a kind of shamanic figure, and so on. I was aware that it was the rebirth of the sun at the winter solstice that was the undoubted centre of gravity of the proceedings, and that the early Christians had wisely opted to utilise the date for their own purposes. Eliade’s exposition of the complete mind-set behind such events expanded my understanding immensely.

I seemed to be thinking and feeling like an ancient Babylonian. I’d had a weird sense since childhood that the past cannot really be completely gone and that something of the nature of anniversaries means that the events they commemorate are somehow present. My bizarre obsessive behaviour around time was an attempt, however unconscious and distorted, to express this. I felt that Eliade validated my weird experiments with time and this encouraged me still further.

I also learned that the Persians had a kind of second New Year’s Day in mid-summer. It was known as the Mihragan and was dedicated to Mithra. They felt this period was a sign of the end of the world. The big sprout had reached its maximum expansion and had no further capacity for growth. The scorching summer heat was a kind of destruction of the world by fire and return to chaos. This elemental dissolution can be placed alongside the water deluge theme that was present in Babylon and amongst the Hebrews.

This led me to ponder upon my personal summer solstice mythos and what the pilgrimage to the West Country had come to mean for me. I realised that many of the motifs from the Babylonian Akitu were present in my Glastonbury experiences. Christmas and New Year are powerfully noticeable in our society because most of the culture participates in some way. The summer solstice was, for some, becoming an equally significant time. For me it always seemed to be a focus for transitional events of renewal and regeneration. Being a student was a contributory factor, as the academic year ended round about then. My festival experiences had certainly been “a period of chaos when all modalities coincide” and “a reversion of all forms to indeterminate unity”. Time had been dissolved. Solstice dawn was some kind of eternal now, a moment in the dreamtime. The normal forms of consensus reality ceased functioning. There was most certainly great intoxication. I already realised that I probably felt all of this more strongly than most. I knew I was evolving a personal mythos. Once again my understanding of Eliade encouraged me to feel that I was gradually revealing some knowledge or intuitive understanding that was already present in me and was entirely in sympathy with the worldview of the ancients.









Looking at Glastonbury with the eyes of Eliade was very useful to me as well. The zodiac on the landscape had been allegedly created by Sumero-Babylonians. I contemplated the ideas concerning mapping out a celestial archetype of perfection on a new territory, of acting out the cosmogonic process from chaos to cosmos. It was easy to think of prehistoric Somerset as a series of hills arising out of primordial waters of creation in the manner of some ancient myth. The emergence of this land, subtly imbued with the very shapes of the laws of heaven, was an idea that was intoxicating to contemplate. The terraced Tor could evoke the image of a ziggurat. It was an obvious sacred centre. And this zodiac was perhaps the generator of our subsequent national mythos. The Arthurian Grail stories, with their call to vision quest, could easily be seen as examples of Eliade’s theme of the imitation of mythic figures whose deeds form the exemplary eternal models of perfection for human behaviour. If the zodiac was pure fantasy, the mysteries of the Abbey remained to suggest the bringing down of heavenly archetypes of perfection to earth. The geometry of its grid plan represented the dimensions of the New Jerusalem. Or at least there were those who believed it did. I had most definitely decided to allow myself to follow that train of thought as far as it could possibly lead me.

Eliade gave me the phenomenological tools to place the Glastonbury mythos in an expanded context through comparative data. It was not in any way diminished by this analysis. I became still further convinced that a living authentic mythical reality was accessible there. I was confident that the more I studied the religions of the world and allowed them to mutate my everyday life, the more I learned to think in other categories, the greater chance there would be for the mystery to reveal itself to me.





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Beneath Giza: Crystal Chambers of the Elder Race

Here is a second extract from my recently published Avalonian Aeon, a multi-faceted autobiographical look at the complete Glastonbury experience that includes previously unpublished material from the archives of historical mysteries researcher Andrew Collins. This piece is a companion to the section on the Mary Chapel from a few days ago. Psychic questing in Glastonbury with a remarkably talented visionary named Bernard in the mid-eighties was crucial to the later development of his work and led directly to his interest in what may lie beneath the Giza plateau, a subject he covered in Gods of Eden and recently returned to with his spectacular book Beneath the Pyramids.



Andrew Collins







Both pieces are from the Avalonian Aeon chapter Aegypt and link Glastonbury and Giza. The section here has been edited to bring together paragraphs from different pages and excludes some material that links them together in the book. They certainly represent unconventional modes of investigation and I (and Andrew Collins) make no dogmatic claims as to the validity of the ideas. The material is nonetheless striking and therefore may be potentially stimulating. It ultimately served to lead Andrew Collins to something very tangible. This piece is a deliberate teaser, making mention of topics dealt with elsewhere. I would hope it may encourage you to buy Avalonian Aeon which can be done through the cover image on the right hand column from this piece or from the books website

www.avalonianaeon.com

Those in the USA can find it on Weiser Antiquarian

www.weiserantiquarian.com


“On April 9th 1985 Bernard was showing Andy his Mary chapel design. He drifted into the Egyptian zone again, stating emphatically that there is a chamber beneath the Giza plateau. Andy was familiar with the famous American psychic Edgar Cayce’s ideas. Perhaps primed by Theosophical and Rosicrucian input, he had talked of refugees from Atlantis travelling to Egypt and building the Sphinx and Pyramids. They also created a “Hall of Records”, an underground chamber filled with the lost knowledge of pre-deluge humanity. Cayce claimed that the place would be uncovered in 1998 and this momentous event would form part of a sequence of massive global transformations that would usher in a new epoch.

Serpent in the Sky was primarily an exposition of an immense corpus of esoteric work by the mystical polymath Rene Schwaller de Lubicz. It was he who had first suggested the possibility of water erosion on the sphinx. The man had spent fifteen years at the gigantic Luxor Karnak temple complex in Egypt. He and his team measured every inch of the place, recording each hieroglyphic and piece of artwork. Schwaller didn’t have the mindset of a typical archaeologist. He was part of a potent stream of European esotericism that is sometimes overlooked in Britain and America in favour of the Golden Dawn and Theosophical legacy.

He was particularly concerned with finding evidence of phi. Conventional history credits the Greeks with this crucial mathematical geometrical discovery. Schwaller became convinced that it was known to the Egyptians. He was clear that it was a glimpse into the working of the divine, the blueprint for reality.

In his later years he told his pupil Andre VandenBroeck that the basic material of Fulcanelli’s work on the cathedrals had been his own and the man he claimed to be behind the Fulcanelli myth, Julian Champagne, had been lent the manuscript and essentially ripped it off, adding material of his own and various associates. VandenBroecks Al-Kemi tells the full story for those who may be interested. There is no doubt that Schwaller was an alchemist. He had a fully functioning laboratory in his home of which photographs exist. Anyone who looks at his Egyptian work could probably see that it is coming from a very high level of insight indeed. Schwaller stated that “I could not have recognised the cosmology of the Pharaohs had I not known the medieval book of the cathedral”. In his own way Bernard rapidly went through a version of the same process, from the Mary Chapel to what he began to call the Crystal Chambers beneath Giza.

During the second half of April, Bernard went through an ongoing brainstorm download in which he received a detailed design and explanation for the Crystal Chambers in a similar manner to his Mary Chapel experience. Bernard came to believe that the underground complex dated from the astrological age of Leo, over 12,000 years ago. He didn’t really talk about Atlantis in the usual way. It was sufficient to think in terms of a previous cycle of an advanced civilisation that had all but disappeared through planetary upheavals. He referred to the “Elder Race”. Those dudes were a bit strange. They were etherial, extremely tall, viper-visaged, virtually albino types. They weren’t standard issue Homo Sapien Sapien. They weren’t ETs either. It was a now extinct line but it had bred into the current human race. Their Crystal Chambers were not a repository for books and conventional treasure but a living cosmological temple. The knowledge it held was the understanding of how the present universe came into being. It represented the form of the process of creation and the actual point of creation itself. The rites that Bernard believed to have occurred therein had a haunting otherwordly feel to them that was both archaic and futuristic. They maintained, harmonised, and adjusted the very form of the laws of nature as they functioned within the planet.



Drawing by Bernard G featured in Andrew Collins Beneath the Pyramids.



The whole complex lay beneath a mound island on a lake. At the entrance was a large rectangular panel of polished grey stone. Depicted on this in base relief, on the left, was a man facing right wearing an Egyptian style headdress, a skullcap with uraeus serpent. He held a staff with a curved top. Facing him was a lion with upraised wings, standing up on its hind legs. Ray-like spikes emanated from its stomach. There was a line of glyphs between and beneath the two figures. The leonine being seemed to be a form of the Mithraic Aion cosmocrator Lord of Time.



Artwork by Yuri Leitch inspired by an original drawing of Bernard G featured in Avalonian Aeon



The ground-plan was in the form of a twelve-pointed double hexagram. Domed-roofed chambers were situated on the apex points. On the floor were a series of concentric rings, slightly differently configured in each room. From their central point of emanation, there were also three straight yellow grooves cut into the floor that formed paths outward. The left and right grooves connected through doorways with adjacent chambers, forming paths that marked the twenty four sides of the whole design. The third central groove reached down a long corridor to the central chamber producing a total effect like the spokes of a wheel.




Painting by Bernard G featured in black and white in Andrew Collins Gods of Eden.





The central chamber was twenty-four sided. In the middle was a twelve pointed, twenty-four faceted pyramidion crystal, several feet in height. It was the “Knowledge Stone”. Its facets in combination represented all known colours, dimensions, aspects of reality etc. The last Glastonbury imagery Bernard had seen, at the climax of the first spiral of the zodiac quest, clearly recalled the Egyptian creation myth. Atum caused a hill of creation to arise out of the primordial ocean of darkness that preceded the first morning. The island became the sun temple of Heliopolis. At its centre was a black pyramidal stone with a quartz top representing the Ben-ben stone. The crystal reflected and refracted the rising sun’s rays each morning. This was a living demonstration of a cosmology showing how the one became many. It seemed that the underground Giza complex with its central crystal was perhaps the original temple of this myth. The Heliopolitan form of it told of the phoenix bird that alighted upon the stone at the start of each new epoch. Bernard had seen Glastonbury Tor, the Zodiacal phoenix, arising out of the waters. It was an extraordinary mixture.”




Design plan featured in Avalonian Aeon.

In common with the companion piece on the Mary Chapel, this extract from Avalonian Aeon has also been posted on the excellent Ishtar’s Gate site. Do check it out.

www.ishtarsgate.com

For full coverage of Andrew Collins recent Giza work, regular updates on all the ongoing Giza news and controversies, and to buy his books, go to

www.andrewcollins.com