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Apperception of the Conceptual, or "The Pied Piper Phenomena"

  
 
The Fetch
23:56 / 03.08.03
First, a quick thanks to those who have privately emailed me over the last couple weeks with your comments, requests, and encouragements. It is indeed appreciated and we will continue to strive to bring you some of the more "cutting edge" concepts relative to the Occult and the Isisian Mystery Schools as they have manifested over time.

In order to escape from "the numbers" for a day or three, here is some underlying insights that went into the development of the Isisian Codes.
___________

The Pied Piper and Apperception of the Conceptual

If you think Ray blew it
there was nothing to it
they patched him up as good as new.

Now you can see him everday
riding down the Queen's highway
Passing out his small cigars to the kids from school.

Thus the 1974 song of "Pied Piper" by Jethro Tull begins, and then ends with the refrain, "Pied Piper, Mad Pipe. Pied Piper, Mad Pipe".

In order to make sense of the beginning of the song and the ending of the song, it is necessary to develop what is known in the Isisian Mystery Schools as "an apperception of the conceptual", which when mastered, provides you with a clear channel in thought (logic and reason) to the concept (conceptual reasong) that exists in the word OCCULT, among so many others.

In the above song, the "Mad Pipe" can be seen really to be a form of "drug pusher", who, handing out his "cigarettes", poetically called "small cigars", develops what is known as a "following" through a process of "addiction". The "addiction", relative to the Isisian Systems, is akin to a following of the "Pied Piper" through unreasoned principles, for since our entire system is predicated on Pi, and the "Pi'd Piper" is such a clear "code" or "self evident statement" regarding the process through which "man" "follows" to a "harmonic tune" as played by the "Pied Piper".

Hence "the pied piper" is playing a tune that "all follow" as the tune is Pi itself, for what else would a "pi'd" piper play, other than Pi? The idea of linking "small cigars" to a "Mad Pipe" is form of "apperception of the conceptual", for the link between the "Pied Piper" as the "jovial pipists" and the "Mad Pipe" of the "roaring tattoo'd biker "Ray" handing out "small cigars" compares the Pied Piper (the tune player) to the Mad Piper (or the concept of using false or harmful concepts to acquire the "following".

In truth, this concept is at the root of the Isisian Mysteries, for the study deals with the formulas that create the "pied piper effect", or that which causes man to "have faith in a concept" and thus "follow" the Pied Piper, or the formulas that are cast against Pi. It is the concious and rational eleucidation of these formulas that are set against Pi that is known as the "search for the truth" within the Isisian Mysteries.

Says Plutarch in Chapter 2 of Isis and Osiris

Therefore the effort to arrive at the Truth, and especially the truth about the gods, is a longing for the divine. For the search for truth requires for its study and investigation the consideration of sacred subjects, and it is a work more hallowed than any form of holy living or temple service...for Isis is a Greek name, and so too is Typhon, her enemy, who is conceited, as his name implies, because of his ignorance and self deception. He tears to pieces and scatters to the winds the sacred writings, which the goddes collects and puts together and gives unto those that are Initiated into the holy rites...the end of and aim of which is the knowledge of Him who is the First, the Lord of All, the Ideal One. Him does the Goddess urge us to seek, since he is near her and in close communion with her."

More to come
 
 
The Fetch
00:54 / 04.08.03
So in the very early setting of the work "Isis and Osiris", Plutarch provides us with numerous layered clues as to what the "Truth" could entail, as well as the means to effect an understanding of "the truth".

The establishment of "truth" is predicated on a study and investigation into the phenomena known as "sacred subjects". It is a plural investigation, and this investigation is predicated on a simple allegorical relation: if one views the world with just one eye, his ability to effect depth perception is neutralised. It takes "two eyes" for a person to have "depth perception", and hence it takes a minimum of two linked "sacred subjects" before one can begin to present a "logical presentation of truth" into the realm of Isisian debate and understanding.

In this way, we can quote from "Mystic Masonry: The AUM Tri-Glyph":

"The modifications and transpositions of Sacred nomenclatures as they passed from race to race, were generally cleverly accomplished so as to assimiliate their esoteric qualities with symbolic formulae of local significance."

So what we read in Plutarch is equally being equated in Mystic Masonry: The AUM Tri-Glyph, for if the study of the "truth" requires the study and investigation of "sacred objects" as defined by Plutarch, and from the Initiated Order as defined by Mystic Masonry this definition is called a "transposition and modification of Sacred nomenclatures", then we can ascertain that sacred objects and sacred nomenclatures are dealing with the same concept, and that each (two sources) are referring to a study of "multiple perception" as defined by "transposition and modifications", coupled with the idea that "Typhon scatters to the winds the sacred writings, which the goddess collects and puts back together again", then it is the gathering (multiple vision or apperception) afforded through the study of the various religious objects that ultimately leads to an understanding of the "conceptual" as it applies to "truth", where "truth" is being caste against a backdrop of "religious studies".

In developing our "concepts", therefore, it is necessary to have "clear vision", and we cannot have clear vision (one eye closed): tthe investigation and study of multiple sources are required before the "conceptual" as to the order of the ways of world (the truth) can be established.

In this way, we can say that Osiris holds in his hand a "crop" and "Isis" is known as "the Cow Goddess", and since the TAROT is opposed to the TORAT (a form of palindrome coding), and since the Torat says that Typhon/Set/Jehovah despised the Pig, or the generic meat known as PORK, we can say through reason that the CROP of Osiris becomes the PIG as a reversal of CROP = PORC(K), and thus the linking of HAM (PIG) to BEEF (COW) (ISIS) in the form of a "HAMBURGER" is dealing with a more hidden link regarding the destruction of the Isisian Mysteries, or a form of magic designed to effect such.

The ability to link these into a composite "picture", or "sacred object" is what is known as an "apperception of the conceptual", wherein the "apperception" is the ability to "see" the underlying "links" or "channels" that created the concept.

COW = ISIS = BEEF
CROP = OSIRIS = PORK (C) = HAM

GRINDING BEEF (ISIS/COW) and calling it HAM (PORK/OSIRIS/CROP) creates a "sacred object" that is then BBQ'd, wherein B is ISIS pregnant with Horus. It is called "HAMBURGER", or a celebration or desire (magically) to destroy, akin to a French creation of the Crescent to "magically eat the Turks", and thus the ritual of eating "HAMBURGER" is a form of magic to "free the world of Isisian and Osirian influence".

It is the "eleucidation", or concious understanding of the "logic" contained in the "spell", or "magic", that leads to the "apperception of the conceptual".

Or to the uninitiated, the Pied Piper Syndrome.

Relative to the "whole of the truth", or the matrix upon which the "sacred nomenclatures" and "sacred objects" have been caste, we understand that the harmonic is Pi. First, Plutarch describes that the Goddess desires that the student/initiate/seeker come to know "The Ideal One", which we define as a diameter, for this diameter is in "close communion with the Goddess", or the Zero as defined by the Circumference, or Pi.

Is is the linking of Pi, or "esoteric qualities" contained in "sacred nomenclatures", with "formulae of local significance" which brings about (creates) the "Pied Piper effect", for the "esoteric qualities" remain hidden, while the local society is "led" by the "Pied Piper", or the crafting of esoteric concepts contained in Pi to the local religious objects of the targeted cultures.

more to come
 
 
The Fetch
01:39 / 04.08.03
Plutarch, again, is quite clear on this when he says in Chapter 66

"And there is nothing to fear if, in the first place, they preserve for us our gods that are common to both peoples and do not make them belong to the Egyptians only...But as for Isis, and the gods associated with Her, all peoples own them and are familiar with them, although they have learned no so long ago to call some of them by the names which come from the Egyptians; yet they have from the beginning understood and honoured the power that belongs to each of them."

Thus Plutarch alludes to a simple idea: that the use of ignorance to preserve knowledge is a valued tool, for what is to fear if through the "Pied Piper Phenomena" the "Isisian gods" are preserved? Because as stated, within the Priestcraft of the Isisian Mysteries are souls that are able to effect the transpositions and return "the god" to its basic component, as defined by the word of "power".

If I call it Isis and Osiris, and show through logic and reason (basic Gematria) that

ISIS = 9+19+9+19 = 56 = 19+16+5+5+3+8 = SPEECH
OSIRIS = 15+19+9+18+9+19 = 89 = 18+5+12+9+7+9+15+14 = RELIGION
INITIATE = 9+14+9+20+9+1+20+5 = 87 = 16+18+9+5+19+20 = PRIEST

Does it really matter to me if people wish to debate whether English existed and that Isis is either Greek or Egyptian, for as Plutarch says, "they from the beginning understood the power of each of them."

Knowin the "power of each of them" deals with the knowing the "transpositions and modifications" and equally the "apperception of the conceptual", for within the Mysteries of Isis and Osiris are held the keys to the transpositions. Those without the keys "follow the Pied Piper", or are subject to the Pied Piper Phenomena, for as Plutarch continues,

"The fact is that these persons do not differ at all from those who regard sails and ropes and anchor as a pilot, warp and woof as a weaver, a cup of honey mixture or barley gruel as a physician. But they create in men fearful atheistic opinions by conferring the names of gods upon natural objects which are senseless and inanimate, and are of necessity destroyed by men when the need to use them."

"...as a result of this we have come to regard as gods those who make use of these things and present them to us and provide us with things everlasting and constant."

The "gods" are concepts contained within the various "religious" concepts, and these "religious concepts" are set about through "gods" who utilize "inanimate objects" to contain universal truths, which then must be go throught a process of refinement wherein the definitions (definements) must be set into an appercetion (ability to perceive through investigation of the modifications) and the set back into a "base concept", which when fused with the world at large, becomes the "conceptual".

In this way, the ANT has been fused with the HEIROPHANT, and yet, being "cleverly disguised", few can see that an HEIR OF (OPH) ANT, the Pyre has been linked to Pi, and BED has been linked to pregnancy (B is a profile of a Pregnant woman and ed is a past tense, to create a "past tense of a present condition".

Ultimately, it is the Letters that are the "Gods" that are then encoded into the Sacred Objects, and this then leads one back to the "truth".

more to come
 
 
Shanghai Quasar
01:00 / 05.08.03
I quite liked this one. Are there any other songs (Jethro Tull or otherwise) you've taken apart in this manner?
 
 
The Fetch
02:36 / 05.08.03
I grew up on Jethro Tull and have dissected most of them. Ian Anderson is a pretty accomplished Pagan and most of his "stuff" are puns aimed at the "existing order", aka, Christianity.

For instance...from Minstrel in the Gallery, one of my favorite songs is "One White Duck on Your Wall/0 to the power of 10 = nothing at all"

The last line goes:

For I am up to my deaf ears
In cold breakfast trays.
To be cleared before I can dine
On your sweet Sunday lunch confusion.

The "cold breakfast trays" is the "Rite of Communion", and so the person clearly the trays is the "established order" or "priestcraft" of the Christian Church. The "sweet sunday lunch confusion" deals with the often purposeful use of spells and magic against the flock, or congregation, and deals with the aspect that lunch is spent discussing the details of what transpired in "church" that day, the entire framework of which is set against "confusion" as defined by Set "tearing to pieces" as shown above.

The White Duck on the Wall is the belief in an "aryan Jesus", and deals with the idea that the "duck on the wall" is the "crucified Christ", while the lines:

So fly away Peter
And fly away Paul
From your fingertipped
ledge of contentment

Deals with the aspect of Peter and Paul setting out to found what would become the cult of the "Duck on the Wall", or the belief in a crucified "aryan Jew", and then all the "Holy Grail" and related mythos that go along with the story...

The Line

My Zero to your power of 10 equal nothing at all..refers to the idea that within the higher Pagan formulas, the Christian "spells" and "magic" really have no value for your systems are predicated on Pi and higher orders of formulas..so their "Power of 10" is the idea that "Through Jesus you are saved", which they see as the great trump card (raised to a power of 10), while we see as a 0.

Our 0 raised to their power of 10 still will equal nothing at all.

Thick as a Brick is another fascinating journey into Isisian Pagan archetypical analysis, for the line "Thick as a Brick" comes from a 3rd Century Joke about Jesus where in Babylonian, the punchline, and the way it is set up I guess makes it funny, is that "Jesus was so scorned by his teachers that he took a brick home a worshipped it as his teacher."

Thus, "your wise men dont know how it feels to be thick as a brick" is linking back to this joke, and from there you can decipher the song.

The Fetch
 
  
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