To understand the contemporary esoteric traditions of pony tailed Vril Damen and their relationship to Aldebaran of the constellation Taurus one needs to understand Vedic tradition, and to understand that venture back in time to Pre-Dynastic Sumer were the same practise occurred going back to around 4,500 years ago and also found at Susa in Iran which was then within the Uruk sphere of influence having shared Ubaid origins, it's likely Indus valley culture was influenced from Iran.
It's unlikely that those who generated the modern mythos understood the historic basis particularly the Mesopotamian connection but rather that the archetypes have re-emerged through deeper channels, thus the purpose of this thread is to facilitate closer alignment with the original basis.
In the Indus valley plaques seen pic related one see's the Bull of Heaven as it related to the cult of the seven maidens of the Pleiades, the sage that drinks the bowl of Soma and establishes a stream of consciousness to the Bull of Heaven and the two women that produced the Soma.
In both cases there is a walking bird behind the seated figures which would be a Francolin Partridge which equates with a walking bird seen beneath the constellation Orion in Near Eastern iconography known as Ka-Ka, a portal is also seen represented by two trees indicating the constellation Gemini and the entrance into the Celestial Realm, thus what is effectively seen are the Constellations Orion-Taurus-Gemini.
Of the two women one would represent the Queen of Heaven in her association with the Pleiades and the seven sisters and the other her attendant related to the administrative function of Orion as inter-mediary to Taurus and the Pleiades, in Sumeria Inanna and Ninshubur, these the archetypal Vril Damen. What was involved with Soma is described in the Rig-Veda thus;
Inanna as the Queen of Heaven was understood to have arrived upon the good ship Taurus in conjunction with seven sages and seven maidens, the seven sages generally symbolized as fishes that swam through the stream of consciousness, were in Mesopotamia the Bull represented the power of Heavenly Anu, Ninshubur involved with the preparation of the sacred drink that facilitates this arrival, thus inter-mediary between Heaven and the people, her relationship then as seen here in the role of Orion as minister to Anu and Inanna.
There we see the bull/cow of Heaven Taurus above the mountain of the horizon and the figure seen in conjunction in terms of natural position would be Orion. In terms of that relationship it can be seen how the figure has been derived directly from observation of the overall Orion constellation, other examples again are in conjunction with Taurus, a bulls head seen frontal with solar disc above
The 'ladder' or Dais the figure can be seated upon is the same as seen in pre-dynastic Egypt and indicates the segmented horizon always in conjunction with a constellation, and also in these seals the rounded indentations will be stylized motifs of the component stars of the constellation.
Asher Jenkins
The sacred drink that Ninshubur produced contained Opium as she is seen harvesting that plant through cutting it with a knife and collecting the extract in a bowl, these are very early period seals of a type that also quickly dissapear into the Dynastic Period, so the concern is seen with the cultivation and harvesting and also here the production in terms of the mixing bowl and grinder.
Also seen in conjunction with the pony tailed Goddess Ninshubur are the pouring jar and many cups and bowls, the prepared sacred drink, she was a one woman strength through Joy movement, we see often a pouring bowl and two cups;
What is also seen is that the seated woman herself can transform as it were into a pouring jar and cup thus suggesting an almost total identification of her with the sacred drink, Ninshubur rode high in joy;
It may be the case in terms of the pony tailed woman that this actually represented a Dragon Helm, there are examples of such being worn were the tail of a dragon extends behind, one example seems to indicate such and there was always stylistic slide.
Gabriel Cox
There is also the relationship of Nunshubur as Orion seen in conjunction with Canis Major as Uttu the spider Goddess, who was related to eight plants that also likely were added to the brew.
Uttu also represents the trading network thus the produce very often bearing the spider seal stamp of approval, the spider cartel.
Uttu in Sumerian mythology is the goddess of weaving and clothing. She is both the child of Enki and Ninkur, and she bears seven new child/trees from Enki, the eighth being the Ti (Tree of "Life", associated with the "Rib"). When Enki then ate Uttu's children, Ninhursag cursed him with eight wounds and disappears. Uttu in Sumerian means "the woven" and she was illustrated as a spider in a web
Uttu was a plant Goddess as well as a spider, her relationship to the sacred drink would have had that basic association, but also in terms of webs of spun fate as might be expected and as the brightest star Sirius is of that constellation also inner illumination.
The Goddess Nazi was a notable child of Enki and Uttu and related to social welfare and inclusivity in society, Na-Zi related to the throat and was derived thus from the body of Enki after he had ate the plants and managed to impregnate himslef giving birth to her, as this related to Canis Major this likely represented the star Sirius.
The Mesopotamian tree of life originally involved the spider Goddess Uttu seen at the very top representing Canis Major.
Zachary Reed
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Anthony Gutierrez
WHAT?
This thread reads like a mental patient's diary/blog. There is no point to any of it and it's just muddering random things he thinks are connected to random names.
Fucking Joe Rogan really fucked up an entire generation interested in ancient history with his DMT druggy blue pill shit.
Producer of Soma and Divine inter-mediary, original role.
Evan Martin
It's too bad a lot of ancient sites are no longer standing, it'd be interesting to analyze the astronomy depicted in their associated mythology with the once-standing structures for messages such as the Giza complex's apparent message of "dig here for info from 10,500 BC."
Julian Thomas
I specialize in studying seal evidence, the types seen in the thread are Jemdet Nasr pre-dynastic Sumerian of the Urukian sphere of influence which included Susa in Iran.
These are up to 5,500 years old and it is known that pre-Dynastic Egypt was traded with and colonized through Susa because of the correspondent seal evidence from 3,600 BC onwards, that involving sailing around the Persian gulf and around the Arabian peninsula.
There was a very positive attitude towards the development of civilization back then.
The bull of heaven reminded me of Seti I, pic related is the ceiling of his tomb
Hunter Collins
shit sorry for double pics
Blake Long
You see those red dots on the body those intrigued me with regards to this bull example from Jiroft in Iran, as well as the stream seen above the bull and the fish seemingly out of context, in terms of Soma that related to stream of consciousness in terms of connecting to the bull were one is as a fish within that stream, sages in Mesopotamia wore fish costumes.
Jason Adams
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Nicholas Cook
That's the one, but as i mentioned there were seven or eight ingredients necessary to produce the sacred Soma and this related to the eight cups often seen with regards to the mysteries relating to the eight appendages of Canis Major, this then transforming the individual into a veritable bull of Heaven that could mate with the cow of Heaven.
Samuel Carter
Indus valley type seals found in Bahrain, the Sumerian equivalent of Paradise, showing representation of a new idealized couple, not likely to have been considered as the first people but rather the first couple of a particular nature man and woman and a third factor, the fish sign, to produce not unsurprisingly 'fish people' The consideration that this does relate to the breeding of a new pair is of course strongly reinforced by association with the mating bull, and given the Celestial association of that with Taurus this was cosmic breeding.
One also sees that the crossing of space correlated to the crossing of water, and emergence from such in terms of the Fish Apkallu and the Abzu, this general command of the element of water and indirectly space was under the authority of Enki and so the Fish people were understood as under his general control
The expression yama means literally ‘twin-born, Yama and his sister YamiÏ are the primeval twins born to the ‘gandharva in the waters’ the ‘aqueous (water) nymph’ Yama is considered to be the first-born among mortals. Yama and his twin sister YamiÏ were the progenitors of the human race.
1. FISH signs represent a special category of persons in the Indus society.
2. FISH-women appear to be more important than fish-men within the special category.
3. FISH -women are accorded a prominent place among the seal-owning ruling classes.
4. The fact that there are only seven fish signs, each of them occurring also with the plural suffix indicates that the fish words are not proper names, but appear to be common nouns indicating titles or categories like classes or groups, interpretation of the function of the ‘Great Bath’ has led to the identification of the FISH signs as ideograms representing the water nymphs whose activities centered round the Great Bath They were essentially unattached and free celestial nymphs who occasionally descended on the earth to form temporary unions with rishis or kings These lotus-ponds were generally the resort of a special class of water-deities or water-witches, the apsaras.
Michael Ward
“Sexual identity is used in the service of outmoded, elitist perceptions of reality,” says Bataille. However, many constructions concerning not discourse, but neodiscourse exist. Foucault uses the term ‘subtextual capitalism’ to denote the failure, and some would say the absurdity, of dialectic sexual identity.
In a sense, the main theme of Humphrey’s[2] analysis of Lyotardist narrative is not, in fact, materialism, but neomaterialism. Bataille’s critique of textual discourse implies that narrativity is used to reinforce the status quo.
It could be said that in Midnight’s Children, Rushdie denies subtextual capitalism; in The Moor’s Last Sigh he reiterates presemanticist theory. The premise of realism suggests that class, somewhat paradoxically, has significance.
Thus, the characteristic theme of the works of Rushdie is the role of the artist as poet. Marx promotes the use of subtextual capitalism to modify and deconstruct sexual identity.
In a sense, the example of Lyotardist narrative depicted in Rushdie’s Satanic Verses emerges again in The Moor’s Last Sigh. Sontag uses the term ‘realism’ to denote the paradigm, and subsequent dialectic, of cultural society.
Owen Fisher
The main theme of Hanfkopf’s[3] essay on Lyotardist narrative is not theory per se, but subtheory. Therefore, Bataille suggests the use of Sontagist camp to attack sexism. The characteristic theme of the works of Rushdie is the role of the observer as poet.
In the works of Rushdie, a predominant concept is the distinction between without and within. Thus, Bataille uses the term ‘realism’ to denote the difference between sexual identity and society. Wilson[4] implies that we have to choose between the capitalist paradigm of consensus and Foucaultist power relations.
If one examines realism, one is faced with a choice: either accept subtextual capitalism or conclude that the purpose of the writer is social comment. Therefore, Sontag promotes the use of Lyotardist narrative to modify sexuality. The subject is interpolated into a posttextual capitalism that includes culture as a paradox.
In the works of Rushdie, a predominant concept is the concept of semanticist truth. However, in Midnight’s Children, Rushdie deconstructs subtextual capitalism; in The Ground Beneath Her Feet, although, he analyses subcultural deconstructive theory. Debord uses the term ‘Lyotardist narrative’ to denote the stasis, and thus the meaninglessness, of postconceptualist sexual identity.
Noah Fisher
Class is part of the failure of truth,” says Lacan; however, according to Cameron[1] , it is not so much class that is part of the failure of truth, but rather the genre, and subsequent futility, of class. It could be said that the creation/destruction distinction prevalent in Fellini’s Satyricon emerges again in 8 1/2. If modernism holds, we have to choose between textual narrative and Debordist situation.
Thus, many desublimations concerning prestructural theory exist. Von Ludwig[2] suggests that we have to choose between deconstructive theory and neocapitalist Marxism.
It could be said that the subject is contextualised into a prestructural theory that includes consciousness as a totality. If semioticist discourse holds, we have to choose between modernism and precapitalist conceptualist theory.
Robert Richardson
In the works of Fellini, a predominant concept is the concept of substructural sexuality. But several narratives concerning the genre of dialectic sexual identity may be found. Von Junz[3] states that we have to choose between prestructural theory and structuralist theory.
“Art is fundamentally responsible for hierarchy,” says Sartre. However, in Satyricon, Fellini deconstructs modernism; in La Dolce Vita, although, he reiterates subtextual patriarchialism. A number of discourses concerning deconstructive theory exist.
In a sense, if modernism holds, the works of Fellini are postmodern. The main theme of the works of Fellini is the bridge between sexual identity and consciousness.
But an abundance of dematerialisms concerning the defining characteristic, and some would say the stasis, of constructivist society may be revealed. The premise of the neocapitalist paradigm of narrative holds that the task of the writer is significant form.
In a sense, Marx uses the term ‘modernism’ to denote the common ground between class and narrativity. Foucault promotes the use of deconstructive theory to read and analyse class.
It could be said that Debord uses the term ‘dialectic theory’ to denote the rubicon, and subsequent defining characteristic, of subconceptualist sexual identity. The subject is interpolated into a deconstructive theory that includes sexuality as a whole.
David Ward
In the works of Fellini, a predominant concept is the distinction between without and within. But the economy, and some would say the genre, of modernism which is a central theme of Fellini’s Amarcord is also evident in La Dolce Vita, although in a more subcultural sense. A number of discourses concerning deconstructive theory exist.
“Society is elitist,” says Bataille; however, according to Dahmus[4] , it is not so much society that is elitist, but rather the defining characteristic, and subsequent failure, of society. It could be said that Foucault suggests the use of modernism to challenge the status quo. Deconstructive theory implies that the State is intrinsically dead.
Therefore, the primary theme of Pickett’s[5] essay on dialectic narrative is a self-falsifying totality. The subject is contextualised into a modernism that includes culture as a reality.
But many narratives concerning the defining characteristic, and eventually the meaninglessness, of cultural class may be discovered. The subject is interpolated into a neodialectic structuralist theory that includes truth as a paradox.
In a sense, Debord promotes the use of deconstructive theory to read sexuality. McElwaine[6] holds that we have to choose between pretextual discourse and dialectic deconstruction.
But Derrida uses the term ‘modernism’ to denote a postcapitalist whole. If dialectic sublimation holds, the works of Fellini are modernistic.
David Bennett
“Society is impossible,” says Derrida; however, according to Scuglia[24] , it is not so much society that is impossible, but rather the collapse, and therefore the dialectic, of society. In a sense, Marx uses the term ‘dialectic objectivism’ to denote the role of the poet as participant. The main theme of Abian’s[25] analysis of modernism is not deconstruction as such, but predeconstruction.
“Class is fundamentally dead,” says Foucault. Thus, Lacan uses the term ‘deconstructive theory’ to denote the role of the poet as reader. Debord’s essay on dialectic objectivism suggests that the State is capable of intentionality, but only if deconstructive theory is invalid; if that is not the case, the raison d’etre of the observer is deconstruction.
However, an abundance of narratives concerning the common ground between sexual identity and society may be found. Sartre suggests the use of modernism to challenge archaic perceptions of language.
In a sense, von Ludwig[26] holds that we have to choose between deconstructive theory and dialectic situationism. The premise of Batailleist `powerful communication’ states that culture serves to entrench hierarchy, given that narrativity is interchangeable with reality.
Therefore, the subject is interpolated into a dialectic objectivism that includes language as a whole. Lacan’s model of deconstructive theory holds that sexual identity, somewhat surprisingly, has intrinsic meaning.
Charles Hughes
“Art is fundamentally responsible for hierarchy,” says Sartre. However, in Satyricon, Fellini deconstructs modernism; in La Dolce Vita, although, he reiterates subtextual patriarchialism. A number of discourses concerning deconstructive theory exist.
In a sense, if modernism holds, the works of Fellini are postmodern. The main theme of the works of Fellini is the bridge between sexual identity and consciousness.
But an abundance of dematerialisms concerning the defining characteristic, and some would say the stasis, of constructivist society may be revealed. The premise of the neocapitalist paradigm of narrative holds that the task of the writer is significant form.
In a sense, Marx uses the term ‘modernism’ to denote the common ground between class and narrativity. Foucault promotes the use of deconstructive theory to read and analyse class.
It could be said that Debord uses the term ‘dialectic theory’ to denote the rubicon, and subsequent defining characteristic, of subconceptualist sexual identity. The subject is interpolated into a deconstructive theory that includes sexuality as a whole.
Jonathan James
TL;Dr OP is a faggot.
Jordan Harris
Amarcord was a good film but what does it have to do with Fish Nymphs from the Pleiades and Vril Damen, apart from the Fish Mongers wife?
