The Electric Universe Theory is a heresy against conventional physics and astrophysics. Here are the basics. . .
Morphic fields underlie the organization of animals, plants, cells, proteins, crystals, brains and minds. They help to explain habits, memories, instincts, telepathy and the sense of direction. They have an inherent memory. They imply that many of the so-called laws of nature are more like habits.
In a book I wrote some years ago—A Secret History of Consciousness—a reader can find this statement: “We can characterize the advance of science as the sole arbiter of truth by seeing in it the gradual expulsion of human consciousness from its object of study.” What I’d like to do here is to explore what I mean by this, to see where the “reality” behind this dictum has led the human mind and to look at a possible alternative to the methodology that such a view argues is unavoidable.
An excerpt from Marc di Saverio’s epic poem Crito Di Volta. Here, after some introductory material, Crito delivers his sermon on the mount, as it were. . .
Picture T. S. Eliot as Magus, stopping a rain drop mid-air,
asking of it how it turns the world on its head, inquiring
whence it came. . .
When using the term, metaphysical, we’re not talking here about Madame Blavatsky, root races, etheric beings, hierarchies of archons. We are talking about a fundamental framework of thought…
A Cerebramantic Age is upon us, an age characterized by mantic cerebralism—an inconsistent and incoherent mindset. . .
We cannot fix education simply by fixing education; we also need to address ourselves to the culture of which education is a part. The essential dilemma by which we are haunted and in which we remain embroiled is that we have become both morally and memorially absent. We have become netizens and denizens of an essentially contentless and dangerously vaporous society, mere entries in the encyclomedia.
One of the themes I write about in many of my books is the evolution of consciousness. . .
The story of art and decadence is a never-ending one because economies succeed and fail, they go in cycles, and spaces are never permanently fit for purpose; meanwhile the human imagination is endlessly adaptable, and the need for emerging artists to find an opportunity, to fill a gap, is equally endless.