The Fallen Goddess Scenario

Writings attributed to ancient seers known as Gnostics describe an outpouring of

energy from the center of our galaxy that eventually forms the planet earth. This
event and its consequences are recounted in the narrative of the fallen goddess
Sophia, whose name means "wisdom." My summary of this.
Galactic Dynamics
"creation myth" uses a transposition of it mythic features into terms consistent with
modern cosmology Framed in mythological language, the core of our home galaxy
as a vortex of infinite potential (Pleroma: fullness, plenum) consisting of massive
serpent like entities or torrents. The gods and goddesses of the Pleroma are called
Aeons. The Aeons are divine: that is, luminous, radiant, emanating light. They are
also alive and intelligent and capable of feeling, perception, and desire, but on the
level of cosmic consciousness. Aeon: (AY-on) (Greek, god, divinity, process,
emanation, time cycle) Gnostic term for a cosmically pervasive process, aware,
animated, and animating. Aeons manifest sensory worlds by dreaming, rather than
by the artisanlike act of creation attributed to the biblical father god.
The extent of the rotating arms is vast, but the arms themselvs are thin, so the
entire galaxy has the shape of a pancake with a central bulge. The dynamics of the
core, the Pleroma, differ from the dynamics operating in the spiral arms, called the
Kenoma, "deficiency, incompletion." This is the difference between infinite and finite
potential. The core is like a fountain head perpetually erupting with boundless,
undefined potential. In the spiral arms, this cosmic potential scales down into the
relatively limited, but still immense, potentiality of celestial events, including
planetary systems where experiments in life can unfold.
The galactic core or hub consists of a concentrated mass of high-energy currents,
the cosmic gods. Form arises in the Kenoma, the realm of finite potential. The
composition of the outspreading galactic arms is not pure stellar luminosity but
residue, the granular elements of past worlds. The entire galaxy is a vast glittering
pinwheel that acts like a mill, grinding out future worlds from the residue of former
ones. Hence, suns may be born and planetary systems formed, but for sentient life
capable of self-awareness to appear in those worlds there must be a "input" from
the galactic core.
. To produce experiments in worlds arising in the galactic limbs, Aeons project their
power of intention (ennoia) outward while remaining where they are.
allow for free play of boundless potential, trial and error, novelty and innovation.The
divine powers do not interfere with an experiment in progress. But there can be
exceptions in the cosmic order, and Sophia's plunge is one of them.
Sophia commits a misstep or
overstepping of cosmic boundaries
and a mistake arises as a consequence of her audacity.
Sophias's becomes enmeshed with the
experiment she has projected, forced
by her own compulsion, as it were, to
go interactive with the subjects and
conditions of the experiment. The
dilemma faced by the goddess
is the crucial plot factor of the fallen
goddess scenario. The Sophia Mythos,
as it may be called, is not, technically
speaking, a creation myth like the
Biblical account of creation in Genesis.
Rather, it is an emanation
myth consistent with the Aboriginal
paradigm of the Dreamtime and the
Hindu mytheme of "Vishnu dreaming,"
i.e., the oneiric paradigm.
Sophia does not make this world of
ours, she makes herself into it. She
create the animal species by dreams
them empathically., emanation is a paradigm of immanence, placing the generative
force of divinity with and in the world, permeating it.
The analogy to dreaming is a metaphor, The oneiric paradigm describes a dynamic
process in which life on earth is sustained in the way a dream is sustained by the
dreamer. The characters in a dream exist and act as long as the dreaming
continues. In Sophia's dreaming, called apporia , terrestrial life persists as the
dream activity concurrent with it unfolds. In short, this habitable world of ours has
not been created as an artifact, like a pot made by a potter, but is continually being
emanated by the Aeon who dreams it.

Well-known image of the Anima Mundi from an alchemical text. It shows the
continuity from an extraterrestrial Pleromic realm (cloud with Hebrew lettering and
extended hand) to the Divine Sophia to the rational mind of humanity (squatting
monkey), with many divisions of the celestial and terrestrial elements.
Sophia actually morphed into the planet earth. Her mass of living luminosity of
Organic Light turns into the planet we inhabit by a process of condensation and
densification. Sophia does not create the earth at all: she becomes the earth.
NARCISSUS
The following is an extract from "The Alchemist" by world renowned author,
Paulo Coelho.

"The alchemist picked up a book that someone in the caravan had brought. Leafing
through the pages, he found a story about Narcissus.

The alchemist knew the legend of Narcissus, a youth who knelt daily beside a lake
to contemplate his own beauty. He was so fascinated by himself that, one morning,
he fell into the lake and drowned. At the spot where he fell, a flower was born,
which was called the narcissus.

But this was not how Oscar Wilde, the author of the book, ended the story.

He said that when Narcissus died, the goddesses of the forest appeared and found
the lake, which had been fresh water, transformed into a lake of salty tears.
Why do you weep? the goddesses asked.

I weep for Narcissus, the lake replied.

Ah, it is no surprise that you weep for Narcissus, they said, for though we always
pursued him in the forest, you alone could contemplate his beauty close at hand.

Butwas Narcissus beautiful? the lake asked.

Who better than you to know that? the goddesses said in wonder. After all, it was
by your banks that he knelt each day to contemplate himself!

The lake was silent for some time. Finally, it said:

I weep for Narcissus, but I never noticed that Narcissus was beautiful.
I weep because, each time he knelt beside my banks, I could see, in the depths of
his eyes, my own beauty reflected.

What a lovely story, the alchemist thought."

When Narcissus bent down at the river he saw his own reflection and fell in love
with it, and the river did the same thing as well. Even the lake saw, in Narcissus's
eyes its own beauty that it failed to see in anyone else's eyes. Maybe there was, an
invisible understanding, or rather, a comfort that each found in the other.

As the Alchemist is reading the Myth of Narcissus, the notion of transformation is

evident. Originally told in its Greek form, the Narcissus myth is extremely sad and
depressing. Narcissus falls in love with his reflection, falls into the lake, and drowns.
Essentially, beauty becomes self- love and represents self- destruction. However,
the alchemist is reading a different version of the myth. In the version that the
alchemist is reading, the lake begins to weep because it sees itself in Narcissus'
eyes.
In the Alechmist's version of the myth, transformation is evident. There is a
transformation from the bleak and painful version of the myth to something more
beautiful and redemptive. In the version that the Alchemist reads, beauty is
everywhere. The same beauty that Narcissus sees, the lake sees in Narcissus'
reflection. In this version, essentially, nature is a mirror and we reflect the beauty in
it. The more beauty we seek to inject into the world, the more beauty there is to
see. It is for this reason that the Alchemist declares this version of the myth "a
lovely story." Coelho starts off with this modified version of the myth to establish
that the essence of consciousness as being transformational, to see what is and
transform it into what can be. The other purpose in starting off with this myth is to
establish the idea of beauty in the world and the courage to look for it wherever it
might exist. This is something that Santiago takes to heart in his quest for his
Personal Legend.
The myth of Narcissus usually ends when Narcissus becomes so thoroughly
entranced by his own reflection that he falls in the lake and drowns. In the novels
version of the myth, however, we learn that the lake felt upset because Narcissus
died, since it enjoyed looking at its own reflection in Narcissuss eyes. This version
of the myth presents a more complicated picture of vanity than the original. As
opposed to being an undesirable trait that leads to death, vanity appears to be an
entirely natural characteristic, so much so that the lake displays it.
Like the introductory Narcissus story, The Alchemist itself has a message that
focusing on oneself can connect a person to nature and the spiritual world. Only
through single-mindedly pursuing his own Personal Legend does Santiago learn the
secrets of the Soul of the World, for instance. Throughout the book, Santiago must
put his own interests first repeatedly, as when he chooses to be a shepherd rather
than a priest and when he leaves the oasis to continue on his journey. But through
disregarding everything but his own dream, Santiago realizes his true potential. In
this way, he penetrates to the Soul of the World.

The Myth of Narcissus: Reflections on Narcissism and Self-Destruction

It is, perhaps, the inevitable fate of creatures that develop ego-awareness, and is a
problem that must be worked through. The universal religions arose in the form they
did because of narcissism, even if it was earlier called by another name idolatry.
For the idols were traps for consciousness, and they remain so today, even if today
they are now called ideals rather than idols.
It is not a story of self-love but of idolatry. It is a story of being trapped by and in
ones projections, especially in the projection called self-image. The reflecting pool
is the mirror of the world.
The cultural historian Jean Gebser devoted a few paragraphs in his Ever-Present
Origin to interpreting the myth of Narcissus and Echo, and decided it was a myth
about the awakening of the soul, since the name Narcissus is related to the words
for sleep (narcosis) and also remotely to water, which is frequently an image or
symbol of the soul. This can only be true, however, if we assume a meta-narrative
to the myth that involves an ironic self-judgement of the mythological
consciousness upon itself in the very act of telling the story that the gods
themselves are only images, idols, and echoes, projections or exteriorisations, of
what is human, and that Narcissus is actually Mr. Everyman. Only if we assume this
meta-narrative does the story of Narcissus and Echo remotely suggest the souls
awakening to itself. For the very name of Narcissus means sleeper by its close
association with narcotic.
What the myth states is what every subsequently arising universal religion
promising enlightenment also states: man has fallen into a stupor by confusing
soul with ego, or self with self-image. The critical thing to observe about the myth of
Narcissus, and thus of narcissism, is that it is a state of sleep, a trance-like state, a
dark enchantment cast over the mind. Today, we would call this a bubble of
perception, and it is very closely akin to the problem of the divorce that has
occurred between the virtual economy and the real economy, too, as well as
much else besides. The simulacra. And the self-image is only a simulacrum of the
authentic self.
the self-image consumes the life resources of the authentic self just as the ancients
sacrificed, even their first-born, to their idols. Nietzsche called this our flowing out
into a god. The self-image, which is only a conceit and a nothing, consumes far too
much psychic energy. It is the real vampire.
What is the self-image? It is usually what your parents and your society tell you it is,
in all sorts of subtle and tricksy ways. It is sustained and maintained by our internal
monologues the stories we tell ourselves incessantly. We go to bed at night
telling ourselves who we are and what our world is like, and we arise in the
mornings telling ourselves who we are and what our world is like. Like Echo in the
myth.
And like Echo in the myth also, that internal voice that tells us who we are and what
our world is like may not even be our own voice. Almost invariably, its not. And so
we keep ourselves within the circle of trance and under its spell.

http://psyartjournal.com/article/show/todey-
self_psyche_and_symbolism_in_the_roman_d
The Mirror
The prevalence of the search for the self in the Roman de la Rose manifests
the symbolic representation of the mirror as the central theme of the work.
Traditionally scholars have interpreted the mirror in the Roman de la Rose as a
symbol of the cultivation of beauty or of lust relating to the Garden of Pleasure
(Blamires & Holian, 2002). However, setting the mirror within a larger
psychodynamic context of the poem casts light on a deeper, unconscious
significance. The mirror has projective qualities that make it possible to simulate the
image of the human face and displace it onto inanimate material. In the Roman de
la Rose, the mirror not only projects the Lovers physical traits, it also symbolically
projects the innermost repressed urges of the Lovers unconscious onto the objects
and archetypes in the garden. In this way, the mirror serves as the medium that
gives the Lover access to his unconscious through his dream.
The mirror symbol appears many times in the Roman de la Rose, functioning
as a vehicle that offers the Lover increasing access into the layers of his
unconscious mind. In Jungs (2001) view, as in the Roman de la Rose, the mirror
symbol is inextricably linked with the symbol of water, in that both possess
reflective properties and signify the discovery of the unconscious.
True, whoever looks into the mirror of the water will see first of all his own face.
Whoever goes to himself risks a confrontation with himself. The mirror does not
flatter, it faithfully shows whatever looks into it, namely, the face we never show to
the world because we cover it with the persona, the mask of the actor. But the
mirror lies behind the mask and shows the true face (316).
In the Roman de la Rose, the Lovers access to his unconscious self through the
mirror

https://www.rc.umd.edu/praxis/psychoanalysis/woodman/woodman.html

Blake's distinction between inspiration and memory is the distinction between

presence and the fading echo of it. Narcissus dissolving into the memory of himself
as a siren confrontation with nothingness, as distinct from a conscious union with
himself as the "I Am that I Am," is the difference between alchemy as ideally
conceived as Giegerich's notion of the logos as the "soul's logical life" (which is, for
him, what in itself psychology really is), and alchemy as the echo or fading image of
itself to which, he argues, Jung's psychology remained empirically bound. For Jung,
on the other hand, Giegerich's notion of psychology is subject to a delusion in which
the human mind is fatally identified with the archetype of the mind of God, an
identification in which the essential distinction between soul and spirit is dissolved.
Jung's horror of Hegelian idealism is his conviction that, if he were to immerse
himself in it (as on occasion he did, or nearly did), he would drown. He knew, as a
Kantian, that he had to wear a diver's suit if he hoped to survive his exploration of
the depths of the psyche.

http://mlwi.magix.net/archetypes.htm
Space: The Fundamental Stuff of Human Geography
anthropologist, Edward Hall, once compared it to sex: It is there but we dont talk
about it. And if we do, we certainly are not expected to get technical or serious
about it., without space we would not be here. So to start to get a grip on the grip
that space exerts on all our lives and, as we shall see, the ways that we can alter
that grip in order to make new spaces were space being viewed as a container
within which the world proceeds, space is seen as a co-product of those
proceedings. PLACE SPACE- that certain spaces are somehow more human than
others; these are the places where bodies can more easily live out an idea of what human
being should be being. But by testing the limits of human and being through experiment
and, in the process, are starting to point to new kinds of space.
place consists of particular rhythms of being that confirm and naturalize the existence of
certain spaces. Often they will use phrases likeeveryday life to indicate the way that
people, through following daily rhythms of being, are so many different rhythms of not just
routines but also all kinds of creative improvisations. to open up little spaces in which they
can assert themselves, agreed is that place is involved with embodiment. It is difficult to
think of places outside the body.
Place (understood as a part of this complex process of embodiment) is a crucial actor in
producing affects because, in particular, it can change the composition of an encounter by
changing the affective connections that are made.
Thus, as we all know, certain places can and do bring us to life in certain ways, whereas
others do the opposite. It is this expressive quality of place

New thinking about unblocking space involves the difficult task of redescribing the world as
flow and continuous transformation. what is clear is that these acts of imagination are all
profoundly political acts; what we often think of as abstract conceptions of space are a part
of the fabric of our being, and transforming how we think those conceptions means
transforming ourselves.

THE POETICS OF SPACE

Psychologists generally, and Fran oise Minkowska in particular have studied the
drawings of houses made by children. Asking a child to draw his house is asking
him to reveal the deepest dream shelter he has found for his happiness. If he is
happy, he will succeed in drawing a snug, protected house which is well built
on deeply-rooted foundc1tions." It will have the right shape, and nearly always
there will be some indication of its inner strength. there is a fire bum ing, such a
big fire, in fact, that it can be seen coming out of the chimney." When the house
is happy, soft smoke rises in gay rings above the roof.
If the child is unhappy, however, the house bears traces of his distress. Polish and
]ewish children who had suffered the cruelties of the German occupation during
the last war. One child, who had been hidden in a closet every time there was an
alert, continued to draw narrow, cold, closed houses.
that a live house is not really "motionless," that, particularly, it integrates the
movements. possesses certain kinesthetic features, so frequently forgotten in the
drawings of "tense" children
imagination is a most secret power that is as much of a cosmic force as of a psychological faculty.

simple images of eulogized space. Space that has been seized upon by the imagination

HOUSE AS A UNIVERSE
Not only our memories, but the things we have forgotten are "housed." Our soul
is an house. And by remembering "houses" and "rooms," we learn to "abide"
within ourselves. Now everything becomes clear, the house images move in both
directions: they are in us as much as we are in them,
For our house is our corner of the world. As has often been said, it is our first
universe, a real cosmos in every sense of the word. our adult life is so
dispossessed of the essential bene fits, its anthropocosmic ties have become so
slack, that we do not feel their first attachment in the universe of the house. It
is the human being's first world. Before he is "cast into the world," as claimed by
certain hasty meta physics, man is laid in the cradle of the house. And always, in
our daydreams, the house is a large cradle. maternal features of the house. He
comes to realize that the cosmos molds mankind, that it can transform a man
of the hills into a man of islands and rivers, and that the house remodels man.
The dialectics of the house and the universe are too simple, and night or
darkness reduces the exterior world to nothing. It gives a single color to the
entire universe. In this dynamic rivalry between house and universe, we are far
removed from any reference to simple geometrical forms. A house that has
been experienced is not an inert box. Inhabited space transcends geometrical
space
With the house that has been experienced by a painter, we come to a delicate
point in anthropo-cosmology. The house, then, really is an instrument of topo-
analysis; Symmetry abolished, to serve as host for the dreams. Thus, an immense
cosmic house is a potential of every dream of houses.. A house that is as dynamic
as this allows the painter to inhabit the universe. Or, to put it dif ferently, the
universe comes to inhabit her house.
Erich Neumann shows that all strongly terrestrial beings-and a house is strongly
terrestrial-are nevertheless subject to the attractions of an aereal, celestial
world. free us from our utilitarian geo metrical notions. Consciousness becomes
"uplifted" in contact with an image that, ordinarily, is " a state of rest, sleep, or
tranquillity.." The image is no longer descriptive, but inspirational.
TOPOANALYSIS
a house is first and foremost a geometrical object, one which we are tempted to
analyze rationally. Its prime reality is visible and tangible, made of well hewn
solids and well fitted framework. It is dominated by straight lines. A geometrical
object of this kind ought to resist metaphors that welcome the human body and
the human soul. But transposition to the human plane takes place immediately
whenever a house is considered as space for cheer and in timacy, space that is
supposed to condense and defend intimacy. Independent of all rationality, the
dream world beckons. But the complex of reality and dream is never definitively
resolved. The house itself, when it starts to live humanly, does not lose all its
"objectivity." We shall therefore have to examine more closely how houses appear
in dream geometry (In fact, it is interesting to note that the w01d house does
not appear in the very well-compiled index to the new edition of C. G. Jungs
Metamorphosis of the Soul and its Symbols).
the house shelters dreaming, the house protects the dreamer, the house allows
one to dream in peace. He experiences the house in its reality and in its
virtuality, by means of thought and dreams. memory and imagination remain
associated, each one working for their mutual deepening. In the order of
values, they both constitute a community of memory and image.
the house is one of the greatest powers of integration for the thoughts,
memories and dreams of mankind. give the house different dynamisms, which
often interfere, at times opposing, at others, stimulating one another.
"read a house," or "read a room," since both room and house are psychological
diagrams that guide writers and poets in their analysis of intimacy. For a
knowledge of intimacy, localization in the spaces of our intimacy is more urgent
topo-analysis- the house image would appear to have become the topography of
our intimate being With the house image we are in possession of a veritable
principle of psychological integration. there is ground for taking the house as a
tool for analysis of the human soul, Topoanalysis, then, would be the systematic
psychological study of the sites of our intimate lives. places iden tified with our
solitude. And so, faced with these periods of solitude, the topoanalyst starts to
ask questions: Was the room a dark one? How was it lighted? How, too, in these
fragments of space, did the human being achieve silence? How did he enjoy the
very special silence of the various retreats of solitary dreaming?
With what art, to begin with, he achieves absolute silence, the immensity of
these silent stretches of space! "There is nothing like silence to suggest a sense
of unlimited space. Sounds lend color to space, and confer a sort of sound body
upon it. But absence of sound leaves it quite pure and, in the silence, we are seized
with the sensation of something vast and deep and boundless. It took complete
hold of me and, for several moments, I was overwhelmed by the grandeur
of this shadowy peace. "This peace had a body. It was caught up in the night,
made of night. A real, a motionless body."

OPENING AND CLOSING

It is a strange situation. The space we love is unwilling to remain permanently
enclosed. It deploys and appears to move elsewhere without difficulty; into
other times, and on different planes of dream and memory. . It is as though
something fluid had collected our memories and we our selves were dissolved
in this fluid. both time and place are impregnated with a sense of unreality.
Thus, on the threshold of our space, before the era of our own time, we hover
between awareness of being and loss of being. , imagination, memory and
perception exchange functions. The image is created through co-opera tion
between real and unreal, with the help of the functions of the real and the
unreal.
Le domaine public (p. 70) Pierre Seghers writes
(A house where I go alone calling
A name that silence and the walls give back to me
A strange house contained in my voice
Inhabited by the wind
I invent it, my hands draw a cloud
A heaven-bound ship above the forests
Mist that scatters and disappears
As in the play of images.)
Like the house of breath, the house of wind and voice is a value that hovers on
the frontier between reality and unreality
is a sort of geometry of echoes
by examining the rhythms of life in detail, by descending from the great rhythms
forced upon us by the universe to the finer rhythms that play upon man's most
exquisite sensibilities, it would be possible to work out a rhythmanalysis that
would tend to reconcile and lighten the ambivalences that psycho analysts
find in the disturbed psyche. take into account our need for retreat and
expansion, for simplicity and magnificence. For here we experience a
rhythmanalysis of the function of inhabiting. To sleep well we do not need to
sleep in a large room, and to work well we do not have to work in a den. But to
dream of a poem, then write it, we need both. It is the creative psyche that
benefits from rhythmanalysis.
nest, chrysalis and garment only constitute one moment of a dwelling place. The
more concentrated the repose, the more hermetic the chrysalis, the more the
being that emerges from it is a being from elsewhere, the greater is his expansion.
When we have been made aware of a rhythmanalysis by moving from a
concentrated to an expanded house, the oscillations reverberate and grow louder.
withdrawing into herself, where she could contemplate to her heart's content the
supernatural images that dwelt there. Indeed, figures from this land appeared
to her familiarly,
The image is no longer under the domination of things, nor is it subject to the
pressures of the unconscious. It floats and soars, immense, in the free atmosphere
of a great poem.

REVERBERATION
One must be receptive to the image at the moment it appears: It has an
importance on the surface of the psyche, An image, resounds deeply with
echoes, and image has an entity and a dynamism of its own; Very often, then, it
is in the opposite of causality, that is, in reverberation. The painter speaks on the
threshold of being. for Minkowski, the essence of life is not "a feeling of
being, of existence."' but a feeling of participation in a flowing onward,
necessarily expressed in terms of time, and secondarily expressed in terms of
space. ex cerpt from Minkowski's Vers une Cosmologie might be helpful:
"If, having fixed the original form in our mind's eye, we ask our selves how that
form comes alive and fills with life, we discover a new dynamic and vital category,
a new property of the universe: reverbera tion (retentir). it is as though the sound
of a hunt ing hom, reverberating everywhere through its echo, made the tiniest
leaf, the tiniest wisp of moss shudder in a common movement and
transformed the whole forest, filling it to its limits, into a vibrating, sonorous
world. the world come alive independent of any instrument, of any physical
properties, fill up with penetrating deep waves which are at once sonorous
and silent and which will reverber ate to the most profound depths of its
being, through contact with these waves, movement, making it reverberate,
breathing into it its own life.
By this should be understood a study of the phenomenon of the poetic image
when it emerges into the consciousness as a direct product of the heart, soul and
being of man, apprehended in his actuality. The reverberations bring about a
change of being. expression creates being
how can an image, at times very unusual, appear to be a concentration of the
entire psyche is a phenomenology of the soul. We should then have to collect
documentation on the subject of the dreaming consciousness?
participate in an inner light which is not a reflection of a light from the outside
world. No doubt there are many facile claims to the ex pressions "inner
vision" and "inner light." But here it is a painter speaking, a producer of lights
constitutes a psychic condi tion that is too frequently confused with dream
"An artist does not create the way he lives, he lives the way he creates." the
dynamic expressions of space, they are not applied, they are not made into
recipes.
. . . Knowing must therefore be accompanied by forget knowing. a difficult
transcendence of knowledge. a sort of pure beginning, which makes its creation
an exercise in freedom.

By the swiftness of its actions, the imagination separatesus from the past as well as
from reality; it faces the future. If we cannot imagine, we cannot foresee