Statement of belief 2013

Long time no capture on your immanent plane!

The Friends of Design’s new work, “The Divisions of Love” is almost ready for worldwide release courtesy of Fernmind Unilectic Press. For those who remember your love, I offer the following (free, fully downloadable) preview — the entire album and cover art with lyrics.

This work succinctly presents my relationship to God (and religious practice) better than any more academic theology could, and, as an act of art, avoids the tangled info-bio-karmic web that often results.

The love’s sweeter than wine,

The Tailor






Gayatri Mantra

May we attain that excellent glory of Savitar the god:
So may he stimulate our prayer

The first line is an ascent into the orb of the sun. It occurs last. The second line is a descent from orb into supplication contained within the orb: it occurs first. Because the stimulation is the ascent.

But there’s no we and god, no division in love — only poetry in motion, above and below. And so, “we” attain: “he” stimulates. And so below attains above, via ouroboros┬ároutine, above stimulating below.

This is the nature of the Gayatri prayer: a closed loop, with no we and no god, no division in love, only poetry in motion, above and below.


[38.1] Sad, I swear by the Quran, full of admonition.

Sad: the fish hook, the 90. The recitation is filled carrier cups, filled with self admonition, as each word contains denial as an underbelly, each sign a loaded (pregnant) weapon weighing down against itself.

[38.2] Nay! those who disbelieve are in self-exaltation and opposition.

The verse refers to its own implicit exhalation, its innate opposition.

[38.3] How many did We destroy before them of the generations, then they cried while the time of escaping had passed away.

The first two verses concern spatial difference. The third is the Kali functor, operating temporally, across cycles of reincarnation/recitation. The “cry” is the moment of Quranic recitation, at the end of the verse, audible, and material, because God has vacated/escaped the space caught by it (the Maternal aspect of the Godface). This is the tragic – but also divinely sublime – aspect of the reader’s passion.

[38.4] And they wonder that there has come to them a warner from among themselves, and the disbelievers say: This IS an enchanter, a liar.

The Warner follows the cry, that followed vacation (Maternal, vacant womb tragedy). The Warner is the line of light (a tie of kinship — but also an interjection, a rupture, across the sky). The secondary sunrise that maintains the halo connection.

[38.5] What! makes he the gods a single God? A strange thing is this, to be sure!

The Warner combines totems to form an assemblage – the Unity Totem. Its nature is strange, because the combination of every face is a strange face.

[38.6] And the chief persons of them break forth, saying: Go and steadily adhere to your gods; this is most surely a thing sought after.

In futility, the subject of this sentence demands that each word (totem) maintains a fixed meaning (godly aspect).

[38.7] We never heard of this in the former faith; this is nothing but a forgery:

The sunrise rupture to lineage: its nature is abject materialism, forgery, assemblage, the strange face intersecting the passage of jihad/action, inscribed in matter (as a reminder).

[38.8] Has the reminder been revealed to him from among us? Nay! they are in doubt as to My reminder. Nay! they have not yet tasted My chastisement!

Now the Warner transforms, first, into the diffuse voices of an external paranoia (disbelief, Judgement, judging him in his imagination). Then he coalesces and becomes the Image of the God of Judgement, angry with the voices.

He is a line of light that descends into the bosom of the daughter. Then he rebounds, to the left side, and so creates religion.

[38.9] Or is it that they have the treasures of the mercy of your Lord, the Mighty, the great Giver?

Then he rises higher, to Mercy/Love. And then to Might of the Mother as Absence and Provision of the Father Giver.

[38.10] Or is it that theirs is the kingdom of the heavens and the earth and what is between them? Then let them ascend by any

The Father/Mother, heaven and earth. Engendering Israel/Daughter the Kingdom. Engendering the in between (the sons). From whose dialectic, judgement, the sarcastic paranoid voice is heard, daring the underbelly of its own textuality to (impossibly) ascend.

A Taste of Freedom

By those [words] lined up in rows
And those who drive [the sentence]
And those who recite the message,
Indeed, your God is One,
Lord of the heavens and the earth and that between them and Lord of the sunrises.

The rows are the signs of the text, being read. They are angelic inasmuch as they convey Truth, from the One God YHWH above. But how do they convey? That is the function, the drive, the process described by this poem.

They drive the sentence, by a process known as the Taste of Freedom, dispersal and fragmentation, failure and the fall from the Absent Womb, and the consequent desire/drive to return, the basic metonymic pleasure instinct, repressed and manifested as metaphoric recitation, within the matter of the poem’s text, read by you.

The Taste of Freedom consequently crystallizes in the Grand Metaphor for YHWH: the statement “your God is One”. That is, Faciality, the Face of God. Unity’s conception is the totem that coalesces around the ebb and flow of Freedom to return. But this is necessarily a Face with Features, two eyes, “heavens” and “earth” (“tengri” and “ummai”), the resonance of the primal unspeakable scene that precedes Freedom. The Features constitute the crystalline resonance that self-reflects all dialectic (“that which is between them”), self-reflects, a Divine totem for differentiation encompassed by the Face as a totem for unity.

Lord of Sunrises: the process of exterior interjection within the Tengri-Ummai crystalized matrix — the Nur of Tiferet interjects as sunrise. It is this Lord that the Sufis worship. As the Zohar states:

Once the sun comes forth, there are….those who worship [by] this light, calling this light, ‘Allah of the shining pearl,’ and their oath is by ‘Allah of the Shining Pearl’ Now you might say: ‘This worship is in vain! But since ancient primordial days they have discovered wisdom through it. Zohar 2:188a-b

That is, they worship the Allah of Prophecy, light as fana/rupture that cuts across the Sky God (castration of the Father totem and also rebirth of God as son/sun). With all the politics that is entailed therein.

Indeed, We have adorned the nearest heaven with an adornment of stars
And as protection against every rebellious devil
[So] they may not listen to the exalted assembly [of angels] and are pelted from every side,
Repelled; and for them is a constant punishment,
Except one who snatches [some words] by theft, but they are pursued by a burning flame, piercing [in brightness].

The heaven’s adornment is an encoding of precedent gods.

And herein lies the transformative operator (the dark side of the Taste of Freedom, the doppleganger effect, of which the verses are primarily concerned): the Sunrise of the Daybreak is transformed, by the doppleganger effect, into the Night dual, transformed from Tiferet into Samael (the rebellious devil). It’s a reverse way of looking at prophecy — snatching words by theft, and “his” light is the burning flame of the crack in reality, the fissure of the Sky God.

In this way, there are terrible things that come from what we think of as Light in the Sky, depending on how we view it. Victorious Tiferet carrying the Light of Truth. Or Samael stealing the Word through the fissure of the castrated Father face.

The doppleganger effect is satanic: a shift of register from prophetic to thief. But, nevertheless, we grasp at a key moment in both Sunrise’s rupture and Night thief’s escape — both are a fissure in the Sky — a single process — from which Venus/Aphrodite/Love was born, out of the Sky God’s tears.

Then inquire of them, “Are they a stronger creation or those We have created?” Indeed, We created men from sticky clay.
But you wonder, while they mock,
And when they are reminded, they remember not.
And when they see a sign, they ridicule
And say, “This is not but obvious magic.
When we have died and become dust and bones, are we indeed to be resurrected?
And our forefathers [as well]?”

The vision of Sunrise to theft to the birth of Venus/Love is then abruptly interrupted (just as the Sky God is interrupted by the Sunrise). But who interrupts now? The deniers. There can be no Iman without denial: deniers are a part of Iman. And Iman emerges from this process. This poem spells out the doppleganger function, and thus transforms Iman’s inner Love of Mind (pronoia) into a culturally situated external paranoia.

Say, “Yes, and you will be [rendered] contemptible.”
It will be only one shout, and at once they will be observing.
They will say, “O woe to us! This is the Day of Recompense.”
[They will be told], “This is the Day of Judgement which you used to deny.”
[The angels will be ordered], “Gather those who committed wrong, their kinds, and what they used to worship
Other than Allah , and guide them to the path of Hellfire
And stop them; indeed, they are to be questioned.”

The reply “Yes, and you will be contemptible” is the doppleganger transform of the Venus fragment: Judgement. From the tear’s of the Sky God, into Love there is Judgement of denial and hence Iman.

Remember that the deniers are a fantasy — because Iman himself is a fantasy: both are a hypostasis of a dynamic energy exchange, the descent into matter wrought by the prophecy/thief doppleganger. The deniers and their punishment (Love turning sour and affirming punishment): the energy exchanged here is from Love into Judgement.

The important underlying reality is the movement, the Taste of Freedom across the rows of signs.

So indeed they, that Day, will be sharing in the punishment.
Indeed, that is how We deal with the criminals.
Indeed they, when it was said to them, “There is no deity but Allah ,” were arrogant
And were saying, “Are we to leave our gods for a mad poet?”

The fantasy of denial (paranoia) arises out of Iman (pronoia), and their contrast facilitates a movement from Venus into Judgement, the Taste of Freedom (failure, the fall).

But the Day of Judgement: this is a further crystalization of this temporal movement — it is the totem of time itself. When situated within the harsh matter of the poem, the day (the full stop) must become a Day of Judgement (the full stop of the poem, of the reading, the cessation of paranoia).

The mad poet or, rather, the paranoid poet, the thief, the transformed prophecy rendered matter-doppleganger — has an existence whose basis is the fiction of his deniers, just as much as a basis in Iman. His ultimate desire being the full stop (the death drive) of this process.

But, at the same time, the paranoid poet, whose inverse transformation is prophecy — has an existence whose basis is continuity, lineage, repetition, gilgul and reincarnation/confimration:

Rather, the Prophet has come with the truth and confirmed the [previous] messengers.

Both axes of the poem are represented in its verses: in the lines that describe the punishment of the unbelievers, and the lines that describe the reincarnation of prophecy. The relationship between paranoia and pronoia.

The doppleganger prophecy/thief function itself is crystallized within the middle section, through which these axes intersect (punishment and the self-reflexive duality-totem of the axes themselves):

A speaker among them will say, “Indeed, I had a companion [on earth]
Who would say, ‘Are you indeed of those who believe
That when we have died and become dust and bones, we will indeed be recompensed?'”
He will say, “Would you [care to] look?”
And he will look and see him in the midst of the Hellfire.
He will say, “By Allah , you almost ruined me.
If not for the favor of my Lord, I would have been of those brought in [to Hell].
Then, are we not to die
Except for our first death, and we will not be punished?”

20120521-073610 PM.jpg

The Way: Part 1

The way that can be spoken of
Is not the constant way
The name that can be named
Is not the constant name. (The Way, 1)

The verse begins with “way”, then duplicates itself, substituting “name” for “way”. Because the way precedes the name. The constant way precedes the nameless constant. And yet the “way” is most human, Divine immanence, a God-in-sunnah, a Loving path, Her thought-in-transmission along the neurones of your brain. Why then does the way precede the name? Why would immanence of behaviour precede the nameless? Because of the duplication, the reflection between first assertion and second: an ironic reflection, a primordial polarity that engenders temporal precedence and being, unfolding, the secondary name reflected by the primary, immanence. This is the subversive aspect of the Goddess: she reflects the constant, everywhere, including the transmission from the constant name, by means (precisely) of the ironic doubling, reflection as retroactive temporality/archeology, from first assertion into second.

The nameless, unspoken, unutterable YHWH: from its inscription, we are brought into the opening sign, the the impossibility of its opening’s signification.

This is its character of Divine irony: it is a comedic self negation, with the logical status of impossibility. “This sentence refers to the unreferrable.”

But Divine irony is love, impossible love, a love so immense, fearful, awesome in measurelessness that extends into tangible measure, so as to become polarized, a heaven and earth, a tengri-ummai, a shiva-shakti, a tiferet-shekina, a christ-magdalene:

The nameless was the beginning of heaven and earth;
The named was the mother of the myriad creatures. (The Way, 2)

The nameless name is the beginning: the impossible opening that contains within its impossibility the heaven/male and earth/female. But from this opening, the way solidifies, as a transmission crystallised into signs, whose primordial nature is the womb-sign, the opening crystallised as orbic aperture, that operates in predicative conduit to multiplication, generation, an eden of animal-totem spirits: “the mother of myriad creatures”.

Hence always rid yourself of desires in order to observe its secrets;
But always allow yourself to have desires in order to observe its manifestations.”

There is, strictly speaking, no “yourself” here observing secrets and manifestations. Instead, there is the way, speaking to the way. Transmission, self-describing, Self unfolding. And that immanent daughter of the womb, signs unbounded: her nature is the doubling, the ironic reflection of the transcendent ineffable, doubling doubled, reflection of the first assertion in second. Regard her movement! She says “desire vacuum”, in reflection of her primordial feminine, the mother, breathing in. She says “desire fulfilled”, in reflection of her primordial masculine, the father, breathing out in bounty. But as she is the daughter, she has subverted this sexuality, and resembles her father, in crystallisation, the name of the father, manifested. Her mother a secret goddess, an absent parent.

And within herself, within herself as movement, as conduit, as immanent, pre-emptory (reflective) transmission: these are the inner walls of her orb, the outer exterior of her orb. From the opening into crystallization, there are orbs, there are vacant inner secrets and bounteous outer manifestations.

Two sides of the orb-sign, like a Mobius strip …

These two are the same
But diverge in name as they issue forth.
Being the same they are called mysteries,
Mystery upon mystery —
The gateway of the manifold secrets.

That is to say, the doubling/reflection of the primordial doubling/reflection, the inner and outer of her orb, reflecting the originary way/name routine, the tiferet/shekhina reflecting the bina/chokma: these are the same, identified, inner and outer of thought in transmission, now unified performatively by this final utterance. And by this marriage, whose nature is fractal, doubling upon doubling, mystery upon mystery, the gateway — who is precisely the bride victorious — is fully realised and manfiest.

The bride is manifest through the transmission of the way’s self invocation.

A brighter new Way

The Way is forever undefined.
Small though it is in the unformed state, it cannot be grasped.
If kings and lords could harness it,
The ten thousand things would naturally obey.
Heaven and earth would come together
And gentle rain fall.
Men would need no more instruction
and all things would take their course.

Once the whole is divided, the parts need names.
As soon as there are names
One ought to know that it is time to stop.
Knowing when to stop averts trouble.
The Way is to the world as the River and the Sea are to rivulets and streams. (Tao Te Chi)´╗┐

What is the Way? It is God/Love/Divinity: enacted, embodied, thought, approached, approaching. It’s known as Allah, Adonai, the One, Love — depending on the culture you come from or the culture you choose to align yourself to.

The passage above is the Way, self-describing Itself, as it moves, is enacted, is embodied, is thought — by the reader. It opens as a genesis — a seed, then flesh, then a skeleton of rivulets and stream, a skeleton of Divine names. “The parts need names.” The conduits of the Way’s transmission, the Way back, the bones, ligaments, fibres of the human form: these are rivulets and streams, names recited in a particular order — an order of need — a physical need implicit within any bifurcation, within all branches of the tree of life, as the physical as the drive of streams and rivulets back to the river and sea.

The Way is always brighter, always new — because it is procession, from streams and rivulets back to the river and sea. There’s a Brighter New Way out there, for you and me.