Chronos Apollonios' "Home On Olympus"
Somewhere in searching literature, the themes of occult viewing of the nature of magnification (see Seeing Subatomic Mystically) has resonated with the theme of The Star, appearing as a keyword in Native American Mythology. It usually seems to concern doing so without apparatus, and in an ominous way as if this should not be tried.
But the expection that, like many of the animal symbols, this icon-key may be one which is universal, all ancient works which contain the word might be expected to embrace this connotation, and of course it is to be hoped that this has survived into mystical traditions.
(The Native American use also seems to extend to transportation-- there is scarcely a flying contraption in this literature that, like the witch's broom being traditionally bound with willow, is not made of willow also).
There is also a branch of traditions amongst Southwestern Native Americans that involves medical diagnosis using the light of celestial bodies. (I have posted the most relevant material on Occulthaven previously and it will appear here in the near future). It is notable for differing from the Catoptomantic and Flotation based systems, and may also serve for a grounding of our ideas that the present direction of Gurudas' work need not unnecessarily though of as too "far-fetched". It is of course not only another welcome challenge, but may be rewarding even beyond the possible adaptation of it to create another foolproof system of determining medical information and courses of treatment.
Ray Young Bear's piece, "Gift of the Star Medicine", may be a survival of elements of the traditional Fox (Meskwaki) Indian knowledge, in a form that combines details of both the flawless medical divination of some Native American shamans with details of the possible process of supernatural or psychic veiwing of atoms if no other means can be found for the explaining indigenous atomic knowledge that persisted into the turn of this century, and may unknowlingly survive in many stories and artistic designs, including beadwork "mandalas".
The Magick Mirrors and Time Cameras page of this site also contains details of how a Lukachukai Indian informant to ethnographer Father Bernard Haile known as "Blue Eyes" described things that may be microscopic knowledge of human magnetotactic material that would not be discovered by Western science for decades and decades.
In the spirit of this hope, I am including a link to Frater Achad's "31 Hymns to the Star-Goddess" (Who Is Not) in case it is harmonious with the use of the word within the perroguetives and objectives of the ancients, that more of this mystery might be disclosed in that manner of speaking, though all possible cautions are advised, especially because of his work's homage to the deadly foxglove, which no true self-respecting occultist would meddle with. It need be but little more than an allusion to the workings of the heart and steroidal materials in the body within the ancient context, and is quite unlikely to be any more than that.
Yet Macropsia (also rendered Macropsy, Micropsia) remains in public a mystery barely scratched; surely the skill the Theosophists claim might also be weilded for telescopy, and may be one possible resolution to anomalies in ancient cosmography... but the process of discourse in which the possibilities to which deductive reasoning will be applied to narrow the possibilities may have scarcely yet begun.
Intuitively speaking, this may yet concern itself with other areas, including some rationale why the archetypical Night Visitors may have taken the form of extra-terrestrials, that is, beings from the Stars...
A scene from inside on of the state chariots found in Tutankhamen's tomb, which seems to show an atom of cobalt, by the 27 red circles in the outer ring indicating an atomic weight of 27. It's particularly convincing in the context of the electromagnetic symbols that surround it, since cobalt, one atomic number higher than iron, shares iron's magnetic properties and was well known to the Egyptians according to many examples of artifacts. It's obvious that many ancient representations of atoms are inevitably stylized, since more accurate renderings, one side of the nucleus, or a cut away, would prove confusing. Ancient Mesoamericans seem to often indicate atomic weights simply with a string of circles that can be mistaken for calendrical markings and other numberical values; scenes from Mexican codices seem to rely on the overall context of the scene for clarification.
Something that the particular stylization brings to mind, because of some resemblance to the structure of a spider's web, is whether the ancients chose to symbolize certain knowledge involving atoms as mytholgies involving spiders, as well as the familiar star-symbol. The way a spider's web captures and aligns beads of dew like an atom capturing and aligning particles, would make it an exquisite symbol for them to use. Perhaps some of this knowledge survives today allegorical forms, in ancient stories of "Anancy" and "Spider Woman".
The form also bears some resemblance to flowers of the Aster family, and may likewise point out the role of these as atomic symbols. A hypersymbol might also be formed, whereby at the same time it perhaps suggests that certain Aster family flowers, including those found in Tutankhamen's funerary wreaths may have also been noted for accumulation of substances like cobalt, as well as most probably pertaining to the magickal and biological functions associated with microscopy.
Another example of ancient Egyptian microscopy and atomic knowledge is seen in this detail of part of a ceiling from the tomb of Neferhotep at Thebes (Wolfhart Westendorf, "Painting, Sculpture and Architecture of Ancient Egypt"). Here, the number of nucleons (16) seems to be expressed by the radial divisions of the atoms rather than an atomic weight. We seem to be looking at atoms of oxygen, and the context involving the water lily (a possible utilizer of a biological step involving peroxide in order to generate gasses to fill its tiny bladders to remain afloat) would seem to be the correct one. Some of the more intricate details, like some of those in the ancient Mesoamerican works (image forthcoming), may refer to anyons and fractional quantum effects- physics we are just now coming to terms with ourselves.
The atomic motifs on this Aztec Firegod might confound us without our recognition of their knowledge to lend context. While this stylization could pass for boron, this is in fact a departure from the depiction of atomic weights, and a stylization of valence. We would expect the "Firegod" of a technical people to be associated with the relevant atom, carbon, and this is in fact what we see.
It is the categorical efforts of scholars this time, however, that lends the strongest support: they describe both the pattern on the Firegod, and the design at right, as being what is called a "quincunx". It is the Aztec quincunx at right that is far more unmistakable as a depiction of a carbon atom with pi orbitals.
Whether we are presuming Occult seeing of the microscopic, or whether we are presuming that some obscure technical edge was employed, there is abundant evidence of ancient microscopy, from the continuous and universal use of icon that imply acute awareness of the elemental makeup of natural materials- the habitual appearance of twenty atom-like double circles that appear with the icon of the seashell that imply knowlege of the calcium present in marine shells, that is found abundantly in ancient Aztec artwork, for example- to contempory alusions from Navaho shamans to microscopic biological magnets, to molecular diagrams, such as found in Friar Sahagun's "General History Of The Things Of New Spain", to Erich Von Daniken's "The Gods and Their Grand Design" (replete with possible symbols for fractional quatum features of molecules). The same types of molecules also tend to be depicted, and the celestial symbols found with the molecular diagrams in Sahagun's work (also known as the Florentine Codex) may pertain to the forces that perticipate in the phenomena of ancient microscopy can also cause such molecules to precipitate from nature.
Image from the Codex Nutall. While renditions of atoms and sub-atomic particles in Mesoamerican codices may lack the appearance of stnadardization, probably because of the diversity that we are coming to realize is the true nature of this level of reality, there is little mistaking such works as this, which easily seems to demonstrate the quarks inside an atomic nucleus, color-differentiated much like modern quantum chromodynamics. Quarks are the same particles to which the credit of discovery in our century may belong to the Theosophists Besant and Leadbeater, who recorded them in their work, "Occult Chemistry".
With the obvious exception that the Theosophists, as well as the Aztecs responsible for this work, saw six such presumably fundamental particles where modern science places only three (perhaps implying a need for reconsideration of QCD theory), five are shown much as we think of them, while the sixth is in a different state; perhaps, because it is illustrated as a worm-like figure, performing some feat of quantum tunneling. Such a symbol is not an isolated example in anceint Mesoamerican art.
Likewise, the work by the Theosophists, Charles Leadbeater and Annie Besant in "Occult Chemistry" is fabulous, and has lead some contemporary authors to credit the two with the discovery of quarks, regardless of the lingering possibility that these insights into the structure of matter may have come though one of Nikola Tesla's microscope designs, by way of Tesla's interest in Theosophical subjects and acquaintance with Theosophical persons.
Similarly, some of the ancient Mesoamericans may have accomplished these feats with the tools that are described by historical texts as their apparatus for divination, including but not limited to Magic Mirrors Although this is not at all unreasonable, certain features and details from these accounts suggest something less akin to magical divination and closer to the modern, radionic or psychotronic designs.
Scene from the Codex Borgia, normally captioned "moon with rabbit, moon with flint knife". Note that the numerical features of groups of four notches display totals of 20 and 12, the atomic numbers of Calcium and Magnesium respectively, two elements both significant in the moon's composition, the metabolism of the rabbit, the astological anatomy under the rulership of the sign of the rabbit, and apparently familiar to Mesoamerican natives through their understanding of the chemical composition of corn, where they occur in significant amounts and may also in turn be relevant to any biological processes of unaided, clairvoyant microscopy.
The fact that this area of the body encompasses the heart, which is aided by the elements referred to, is implied by the appearance of the "sacrificial knife", which may also show a polarized indicator, such as a compass needle, and may not only therefore imply that the frequently occuring red and white coloring is a symbol of magnetization, but the use in context may reveal information that is just now being re-discovered about the moon's magnetic feild.
The rabbit, whose metabolism of phosphates is novel and impressive, may also be representing the phosphorus which is significant in likely all of the contexts implied. It's presence in corn and benefit to the heart are well noted.
The open-topped circles also may be both diagrams of atoms in quantum tunneling modes, accounting for shifts in naturally occuring isotope mixtures that may coordinate with the effects of astrological forces as they have been measured by seasonal changes in the behavior of calcium. Their nature therefore encompasses the both the chemical and the alchemic.
All this considered, they appear to be hypersymbols that display broad coherence and expertise in a great number of technical feilds, any of which may have been developed through the various possible kinds of occult imaging.
Note also that the red and white circles which are in context suggestive of magnetization, total 26 when including the one that comprises the rabbit's eye: 26 is the atomic number of iron.
This image comes from the Florentine Codex (Sahagun's "General History of the Things of New Spain"), by way of a photocopy; this amazing drawing has proven impossible to find on the world-wide web. The captions for the plate in Brian M. Fagan's "The Aztec" is particularly evocative, but in general the astonishing resemblance of what is depicted to atoms and molecules has gone entirely unexplained, while scholars have quickly glossed over them to dwell on the cosmological aspects of the appearance of the sun and moon.
The figures in the left column may represent molecules, a nascent atom and negative and positive ions below it, followed by several more molecules. The topmost figure may not be a molecule, but a detail of even finer detail or a representation of electron "smearing" in a pi orbital cloud of an atom. Note how they have the mark of modern molecular diagrams in abbreviation by omission of hydrogen atoms from the structure.
The last molecule to appear is also astonishingly like the molecular diagram carved in ancient stone that is reproduced in Von Daniken's "The Gods and Their Grand Design", from carvings of "The Piedras de Tunja", the ancient stones of Tunja, forty kilometers northwest of Bogota. Here, there are two square vortices, similar to the tracings of possible fractional quantum effects on superconductor surfaces, which may imply a fractional quantum or quantum statistical trasmutation effect in possibly ionized oxygens with the loss of hydrogen from adjacent hydroxyl groups, or may make refence also to a peroxide bond between the two of them.
It almost goes without saying that the match between this and and the molecule from Sahagun's work isn't exact, but then again the approximation here of our own system of diagramming carbon skeletons is remarkable, and we ourselves have no single standard method of modelling molecules, but employ at least a half dozen methods which are all appreciably different from one another.
The particular molecule may have some significance to cosmological or creationist themes, because the molecule may be capable of forming itself out of ions of carbon gasses. The unsolicited spontaneous "en aero" synthesis of organic molecules may not yet be a topic that science has contended with, although many experiments have simulated the "primordial soup" and synthesized proteins by adding even relatively minute electrical currents to various mixes of simple molecules.
The prostaglandins are amongst similar molecules to these, and for one thing, we may have an unsuspected source of irritant molecules in the air or dust if that is the case, depending on the precise configuration. It's something that might be verified if anyone seriously thought to look.
The peculiar large spiral at the right of the Tunja carving may be a protien, and the ancients may be extrapolating even further about the realationship of this molecule to living matter.
The synthesis of such a substance may originally occur with an ion and polymerize through electron transfer. Oddly, some initial speculations implied that the length of the carbon chain could be somehow determined by the number of nucleons present in the original ion. More oddly yet, I found several reference to such principles, one of them appearing in one of the less promising technical works on African medicinal plants.
Perhaps the oddest still, I still have photographs of what may be strands of such a substance that coalesced into large forms that also resemble the molecule, from one to six feet long depending on the intensity of the heat, the sources being a baseboard heater and an incandescent lamp respectively.
Appearing repeatedly over electrical heat sources and having ruled out the work of spiders through careful monitoring, such a molecular process may inherently also tend to perform acts of thermal or thermionic microscopy. If the ancients noticed this phenomena, this may be "the" molecule to represent microscopy in general.
The fact is, that our present knowledge of soccer-ball like carbon spherical carbon molecules, called buckminsterfullerenes, gives us even more incredible, if understated, self-configurations of carbon atoms, and some in which the simple application of flame is as effective in producing them as laser beams!
Cosmologically speaking once again, it's been suggested that instellar space may prove to be particularly rich in them; holographically speaking, a simple heat source may very well be adequate to cause the molecular gymnastics of these organic molecules synthesizing out of the air, and may also prove adequate to generate effects such as the proposed thermal microscopy, if these systems aren't insistent on lasers.
While I'm resorting to mentioning personal experiences here, largely because I have no references on this matter, I've experienced a few light, mild episodes of macroscopia myself, sometimes occuring as unusually structured phosphenes. While I'll freely admit I could have just been seeing things, a concern that could drive any of us toward more dependable or more believable hardware, I've seen everything from simple molecules with all of the atoms seen a single size in a single color, to a glorious and unmistakable vision of the triple-helix of DNA with the atoms "color-coded", blinking and too fleeting to record.
Note how this seems comparable with these ancient diagrams, which sometimes share such a lack of distinction of individual atomic identity and scale.
One possibility of actual clairvoyant seeing of atoms may be found in the visions of Saint Hildegarde of Bingen. Not only do her visions captured in her surviving artworks, regardless of whether or not she clearly understood the nature of what she may have been seeing, suggest atomic structures, but they may go beyond the perceptions of the Occult Chemistry Theosophists, and directly into fractal features of atoms, as well as holographic features which denote in what way that living matter may differ from non-living matter.
Additionally, the recurring references to these visions as "migrainous", ie, the result of chronic migraine headaches, makes additional suggestions about the biochemical nature of the phenomena in question, which may be indeed accurate, and again, linked to the meaning of the tarot card, "The Star" which tops this page; stars, incidentally, were characteristic of her visions, as well as not only an overall Theosophical flavor, but the attendance of Theosophical subjects as well.
The color details (above) are intriguing and may be a relative advancement; it is also compelling that seven nucleons are represented (it's easily possible that the colored representations are a composite of two different methods), for this may be yet another expression of nitrogen in macroptic artwork, and its placement into the context of an ectoplasmic sheath is correct, even if it all too easily passes for a stylistic device without closer examination.
Another possibility as to the appearance of willow as a perhaps causative botanical in accounts that allude to clairvoyant microscopy, or "macropsy", is some of the strange optical properties of certain compounds found in the willow, or closely related, that have been featured in scientific experiments which induced invisibility; at the bottom line of this notion may be the clear possibility that such botanicals can help create phenomena of magnification by means other than ingestion and clarivoyant feats... whether, on top of their indications in dowsing and levitation, they somehow came to be part of the "fabled" "gravity lens" which Einstien sought-- just as the simple phenomena of light bending in a candle flame, as reported in popular science news magazines, may also be, along with others...
It gives us pause to wonder far more deeply what was lost in the ancient libraries said to have been put to the flame... how closely would they resemble, and how much might they exceed, our modern technical libraries?
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