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The Sad Prince, by Seb-M

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Women in Film Challenge 2017:

[50/52] The Love Light, dir. Frances Marion (USA, 1921)

In this little village, not even the echoes of the battlefield… yet how War crucifies the innocent and the helpless.

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mixes i’ll honestly never get over

glasser l’otion 4 dis

grossmary 4 jerome

aphex field day 2017

n prolenta 4 call dibs

dj paypal dj oj 4 rinse

lorenzo senni 4 rinse 

baby blue 4 sim (love is trance I)

swan meat 4 sweat equity

dj warlord 12 wars of christmas

kablam irons in the fire live at ub

merely i-xóchitl 4 svilova

lil data spinee dj warlord hell on planet earth

team rockit neo bahamut

m.i.a vicki leekx

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Martin Parr

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“It is only with the heart that one can see rightly; what is essential is invisible to the eye.” (Antoine de Saint-Exupéry) [Digital Collage, 2017]

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By Nona Limmen

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Kniolas Black Night

Photography by Xuebing DU

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CONCERNING THE UNIVERSAL MATTER OF THE PHILOSOPHERS' STONE - BY THEOPHRASTUS PARACELSUS

After the mortification of vegetables, they are transmuted, by the concurrence of two minerals, such as Sulphur and Salt, into a mineral nature, so that at length they themselves become perfect minerals. So it is that in the mineral burrows and caves of the earth, vegetables are found which, in the long succession of time, and by the continuous heat of sulphur, put off the vegetable nature and assume that of the mineral. This happens, for the most part, where the appropriate nutriment is taken away from vegetables of this kind, so that they are afterwards compelled to derive their nourishment from the sulphur and salts of the earth, until what was before vegetable passes over into a perfect mineral. From this mineral state, too, sometimes a perfect metallic essence arises, and this happens by the progress of one degree into another.

But let us return to the Philosophers’ Stone. The matter of this, as certain writers have mentioned, is above all else difficult to discover and abstruse to understand. The method and most certain rule for finding out this, as well as other subjects – what they embrace or are able to effect – is a careful examination of the root and seed by which they come to our knowledge. For this, before all things else, a consideration of principles is absolutely necessary; and also of the manner in which Nature proceeds from imperfection to the end of perfection. Now, for this consideration it is well to have it thoroughly understood from the first that all things created by Nature consist of three primal elements, namely, natural Mercury, Sulphur, and Salt in combination, so that in some substances they are volatile, in others fixed. Wherever corporal Salt is mixed with spiritual Mercury and animated Sulphur into one body, then Nature begins to work, in those subterranean places which serve for her vessels, by means of a separating fire. By this the thick and impure Sulphur is separated from the pure, the earth is segregated from the Salt, and the clouds from the Mercury, while those purer parts are preserved, which Nature again welds together into a pure geogamic body. This operation is esteemed by the Magi as a mixture and conjunction by the uniting of three constituents, body, soul, and spirit.

When this union is completed there results from it a pure Mercury. Now if this, when flowing down through its subterranean passages and veins, meets with a chaotic Sulphur, the Mercury is coagulated by it according to the condition of the Sulphur. It is, however, still volatile, so that scarcely in a hundred years is it transformed into a metal. Hence arose the vulgar idea that Mercury and Sulphur are the matter of the metals, as is certainly reported by miners. It is not, however, common Mercury and common Sulphur which are the matter of the metals, but the Mercury and the Sulphur of the philosophers are incorporated and inborn in perfect metals, and in the forms of them, so that they never fly from the fire, nor are they depraved by the force of the corruption caused by the elements. It is true that by the dissolution of this natural mixture our Mercury is subdued, as all the philosophers say. Under this form of words our Mercury comes to be drawn from perfect bodies and from the forces of the earthly planets. This is what Hermes asserts in the following terms: “The Sun and the Moon are the roots of this Art”. The Son of Hamuel says that the Stone of the philosophers is water coagulated, namely, in Sol and Luna. From this it is clearer than the sun that the material of the Stone is nothing else but Sol and Luna. This is confirmed by the fact that like produces like.

We know that there are only two Stones, the white and the red. There are also two matters of the Stone, Sol and Luna, formed together in a proper marriage, both natural and artificial. Now, as we see that the man or the woman, without the seed of both, cannot generate, in the same way our man, Sol, and his wife, Luna, cannot conceive or do an thing in the way of generation, without the seed and sperm of both. Hence the philosophers gathered that a third thing was necessary, namely, the animated seed of both, the man and the woman, without which they judged that the whole of their work was fruitless and in vain. Such a sperm is Mercury, which, by the natural conjunction of both bodies Sol and Luna, receives their nature into itself in union. Then at length, and not before, the work is fit for congress, ingress, and generation; by the masculine and feminine power and virtue. Hence the philosophers have said that this same Mercury is composed of body, spirit, and soul, and that it has assumed the nature and property of all elements.

Therefore, with their most powerful genius and intellect, they asserted their Stone to be animal. They even called it their Adam, who carries his own invisible Eve hidden in his body, from that moment in which they were united by the power of the Supreme God, the Maker of all creatures. For this reason it may be said that the Mercury of the Philosophers is none other than their most abstruse, compounded Mercury, and not the common Mercury. So then they have wisely said to the sages that there is in Mercury whatever wise men seek. Almadir, the philosopher, says: “We extract our Mercury from one perfect body and two perfect natural conditions incorporated together, which indeed puts forth externally its perfection, whereby it is able to resist the fire, so that its internal imperfection may be protected by the external perfections”. By this passage of the sagacious philosopher is understood the Adamic matter, the limbus of the microcosm, and the homogeneous, unique matter of the philosophers.

The sayings of these men, which we have before mentioned, are simply golden, and ever to be held in the highest esteem, because they contain nothing superfluous or without force. Summarily, then, the matter of the Philosophers’ Stone is none other than a fiery and perfect Mercury extracted by Nature and Art; that is, the artificially prepared and true hermaphrodite Adam, and the microcosm: That wisest of the philosophers, Mercurius, making the same statement, called the Stone an orphan. Our Mercury, therefore, is the same which contains in itself all the perfections, force, and virtues of the Sun, which also runs through all the streets and houses of all the planets, and in its own rebirth has acquired the force of things above and things below; to the marriage of which it is to be compared, as is clear from the whiteness and the redness combined in it.

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coming back, because the internet died :), who doesn't love a lil ressurection.

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‘Fantastic Planet,’ 1973, directed by René Laloux

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山口小夜子_1978

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さよならをおしえて (Teach Me Goodbye)

I’m waiting   Until you love me I’m waiting for you   Goodbye I’m always waiting   Until you love me I’m waiting for you   Goodbye

Even if a huge disaster occurs   A muddy stream floods Even if the whole town gets abandoned and reduced to ruins I’d open the shelter’s heavy gates And call out your name

I’m waiting   Until you love me I’m waiting for you   Goodbye   Goodbye

Even if I die in an accident Don’t sigh in relief I’d become a ghost and come back to you So that I can call out your name

I’m waiting   Until you love me I’m waiting for you   Goodbye   Goodbye…

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ANDERS PETERSEN, “Libreria Veccia, Piazetta di San Marco”, 1986

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LVLSRVRYHI-059: Jade Statues | The Levels Are Very High

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