Rebis

Rebis

I’ve been thinking about the concept known as Rebis. In the Alchemical Tradition that word denotes the culmination of the “Great Work” … which includes the union of opposites. I don’t think there’s much chance of Rebis being achieved in actuality. And in the arena of the mind, I think it’s a wonderfully worthwhile project, but one that probably always proceeds one step forward and two steps back. I say this because the union-of-opposites-like enterprise I’m preoccupied with these days is enhanced collaboration of my conscious and unconscious faculties. And my experience so far is that the unconscious is vast, and by comparison consciousness is miniscule. Like the difference in scale between the earth and the entire rest of the universe.

An idea I’ve been toying with is that what I’m consciously aware of expands in response to experiences in actuality and as a consequence of contributions shared by my unconscious faculties, either while on the edge of sleep or as ideas that present themselves to me while I’m awake. Such day-time gifting usually takes place during moments when I’m not actively responding to a pressing need in actuality, or on those occasions when I’m engaged in some manual task like applying leaves to the tree in the image above. While performing almost automatic, largely repetitive actions with my hands, unsought ideas present themselves that often feel wildly out of left field and at the same time also wonderfully pertinent.

Shortly after I first began noodling over Rebis several weeks ago I happened upon a particularly wonderful Tarot deck called Visconti Sforza. I do not read Tarot cards myself, but I’m always grateful for the ideas that cross my mind when I look at them. While looking at the Visconti Sforza deck the “Rebis Card” above began to take shape in my thoughts.

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Wolf, Raven and … Ankh?

Wolf, Raven and … Ankh?

One of my current conceits is that, to the extent the needs of actuality permit, I am living an allegorical life. And to that end I willfully foster an active and uncritical collaboration between my conscious and unconscious faculties.

The image above is the most recent product of that collaboration. This exercise was kicked off by my attraction to a 1926 public domain photo by Eugène Atget called “St. Cloud” that provides the setting. Upon reflection it seemed to me that a wolf should be standing at the top of the near stairs. I found a stock photo of a wolf that had the right attitude, and I purchased a license to use it. Once the wolf was in place it seemed to me that he was looking at a raven in flight. Again, I found and licensed a stock photo that seemed properly expressive. But what was the handsome bird after or attracted to?

It seemed to me that what was emerging was an allegorical image, but I had, and still have, no idea what abstract concept might be proposed by the literal composition. That set me thinking that the raven might have its eye on an allegorical object, and the ankh crossed my mind.

I like the way the Egyptian “key of life” symbol looks in the composition very much, but even though I don’t know what the overarching allegory is about, the conscious side of the collaboration feels the ankh isn’t the most appropriate object to be lying on the bottom step. I mean, wolves and ravens are quintessential Northern Europe totems, are they not?

I hope if you find the image of interest and a story occurs to you, that you’ll share it with me.

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High Retreat

High Retreat

From time to time over several months, I dreamt an image very much like the one above. And subsequently on the edge of sleep, I began willfully visualizing myself there. Sometimes by the water. Sometimes walking among the trees. Sometimes within the structure high on the craggy peak, which I explore, or from which I simply look out the windows.

The image above is not an exact replica of the place I dreamt, but all the key features that were present are represented, and it captures the sense of scope and feeling of the original vista. The image above has since eclipsed the original in my thoughts, and offers itself as a highly accessible site for edge of sleep exploration.


Update 1/12/26: In my imagination on the edge of sleep I’ve built a small dock on the near side of the lake. That gets me out over the water, but not too close, as there are lots of large, strange beings, some perhaps uncordial, just below the surface. (I hope I can loosen up around that wariness as I acclimate.) And I’ve constructed a comfy wooden lounge-like deck chair where I sit on the dock under an awning, smoking a maduro-wrapped cigar, sipping a canned margarita, and admiring the view. I imagine when the weather turns, I may prefer to be in the structure on the craggy height … but maybe not. There are no shutters on the windows, so the wind and rain would certainly get in. The place could get super nippy and the wet stone floors would probably be pretty slippery. At the same time I’m not sure I’d want to install shutters since I like the way the place looks now very much. Of course, that may change.

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Themis

Themis

The word liminal has been much in my thoughts. Dr. Google tells me it means, “occupying a position at, or on both sides of, a boundary or threshold.” In my most recent previous post I considered Persephone, Queen of the Underworld, who spends part of the year here and part of the year in the other place. And my understanding of my own situation as that of someone perpetually here and in another place, though directly conscious of the goings on in the other place only while on the edge of sleep … and then only through a marvelous lens of fantastic images.

I had read that because she simultaneously and perpetually knows what’s on both sides of the door, Persephone’s aunt Themis knows how it all fits together. As a consequence, because she knows the complete back story, Themis can sponsor oracles. She knows when something is right, and she knows when something is not as it should be.

Themis is also the mother of the Moirai (the Fates), of whom Wikipedia says, “The role of the Moirai was to ensure that every being, mortal and divine, lived out their destiny as it was assigned to them by the laws of the universe.” I think of them as the personifications of “what happens” — independent of ambition, hope, rationalization, best and worst intentions, and all other thoughts, isms or actions one might engage. They are how the cookie crumbles.

The other day I asked a pal what ideas she thought a parent might share with a child to help them face an environment and civilization that we’ve wrecked beyond repair. She proposed the phrase, “Life is not fair.” Upon reflection, I find that I’m entirely on board with that idea. The Fates come to mind, and it occurs to me that if a child asks, “But what do I do?! What do I do?!” I’d be inclined to suggest, “Be kind when you can. And be as happy as you can as long as you can.”

In the image above I’ve imagined Themis offering for our consideration thoughts from the Quran rendered in cuneiform that read:

When the heavens have
been rent asunder
And the stars have
been set to flight
When the seas have
been comingled
And the graves have
been upturned
A soul will know
what it has
sent forward
And what it has
held back

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Queen of the Underworld

Queen of the Underworld

I’ve been enjoying the extremely satisfying experience of my insides and outsides collaborating on the same project.

As I’ve droned on about at length elsewhere, I’ve been courting my unconscious, and in that service I’ve been thinking of my unconscious as personified by Persephone, Queen of the Underworld and the goddess of springtime, vegetation, and the cycle of life and death. The image above is the latest product of that suit.

I’ve long held that key decisions I’ve made while developing visual images were largely directed by unconscious dynamics. That instinct has transitioned into what feels like a pleasurable mental sensation. As if Persephone is responding to my attentions with abundant, increasingly robust input while I work, proposing prospects that might logically seem far afield from the matter at hand, yet stimulate arrangements of pixels that when implemented seem wonderfully right to me. And there is a feeling of tremendous satisfaction in rendering them.

And then there’s what happens when I stand back and consider an image I’ve rendered. For example, an association I especially enjoy about the image above is that Wikipedia informs me Persephone is holding a sistrum – a ritual rattle. A very long time ago … perhaps in my twenties … I recall visualizing an anxious “primitive” standing close to a small campfire holding a rattle. The fire, the human figure and what he’s holding is all that is visible. The rest is black nothing. I recall thinking, “Reason is a rattle we shake against the darkness.”

I think that memory crosses my mind at this time because I sense myself more and more willfully attempting not to work from a linear thread of reasoned intentionality. Instead, trying to organize pixels in expressions of associations. Then wondering wide eyed what potential meanings the image might suggest.

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For an account of an exchange with Google’s AI regarding statistically induced hallucinations related to my comment above about “reason”… click

Persephone

Persephone

The image above is a dramatization of an experience I had recently on the platform in one of the MUNI underground railway stations in downtown San Francisco. I’ve gone comic-book-melodramatic in this instance to suggest the impact the experience had upon me. The sense of seeing something highly unusual and hopefully conveying even a touch of numinosity.

In the actual experience a number of other people were present on the platform. For me the figure represented here popped out of the overall scene. The feeling was sort of, “Ah, there you are.”

As I’ve droned on at length elsewhere, I think that our minds organize information by associations. And when any particular cluster of associations achieves a high level of density a personality is spontaneously formed that might be thought of as an avatar for that info bundle.

For a little over a year, gifted with the time retirement allows me to spending doing any darn thing I wish, I’ve been experimenting with lingering on the edge of sleep. One of the outcomes has been that that edge has expanded into a zone where I now have the pleasure of lounging, sometimes for hours, treated to a pageant of images and adventures. The sensation is like visual listening.

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But wait!

But wait!

The way the image above evolved was that I came upon a public domain photo of the façade of a New York apartment building. I thought it was wonderful and began playing with a copy, trying to equalize the saturation and draw out additional details. As I proceeded, I found the open window intriguing. Stories began to occur to me. The one I was most attracted to was of something having escaped into the sky. The eagle is from a stock photo I found on the web and purchased permission to use. That’s me reaching after the bird.

Any thoughts you might care to share on this piece would be most welcome.

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How long were we asleep?!

Confusion at sunset

During a walk by the ocean, while thinking about some public domain material I’d come across recently on the web, a story idea came to mind. The image above is the outcome. The guys and the boat, and their reflection on the water, are from Heinrich Kuehn’s sepia-toned photo titled Venice, c. 1898. The sky and its reflection on the water are from a painting called Rhode Island Coast by William Trost Richards (b. 1833, d. 1905).

I’d be very grateful for any thoughts you might have about what I’ve done here, and how you feel about me standing on the shoulders of giants when I piece together elements of deceased masters’ works into a new image.

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Shaman

Shaman

When I completed the Faun image presented in my previous post, I found myself at a loss regarding what to do next. It crossed my mind that it might be fun to try to represent a time before all human-crafted physical and mythic structures, and perhaps even suggest beauty entirely outside of time. The image above arose in my imagination and realizing it in pixels has been a joy.

As details of the composition formed in my thoughts, I wondered, “What’s the story here?” Perhaps that a beautiful, unselfconscious creature seeks communion with her world? But that’s just where the image takes me. I hope if you fall into it you’ll go some lovely place.

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Faun

Faun

As I understand it, way back in the day the Roman’s thought that special places…stately groves, shimmering pools, intensely lovely country lanes…had personalities. Each had a spirit. A genius loci. My guess is that the cluster of mental material that accumulated in the minds of frequent visitors to such places caused place-specific personalities to form in their thoughts. That’s the sort of thing I’m playing at with the image above, which I think of as sort of a capriccio. A fantasy of a bygone place and time.

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