Transcription
Hi Michelle,
My friend, my art teachers failure to appreciate the freedom and the creative license needed for pure artistic expression was traumatic at that youthful, delicate age. Teachers shape future artists and all other professions and so have profound impact upon the shapening of our world.
Treated as if I were doing something wrong - in an act of innocence - I could not understand why a response serious enough to confront my parents about it; do you think that he saw himself as saving society by redeeming me from becoming a fledging Jack the Ripper? or did he ruin an incipient Picasso? As an instructor one would think he could have creatively steered me away to what he thought was a more appropriate artistic expression or forms. Instead nothing was ever said directly to me. It seems that I recall a strange look of his face when he peered over my shoulder at my project, he saw not art but deviancy.....I can imagine some quack psyche-doctor analysing this as the art teachers must have, and as gungho(?sp) prison psychologist are quick to do, to say that the said artistic form reflected the incipient "anti-social and psychopathic behaviour" at an early age that inclined me towards a downward spiral to incarceration.
Sociopathic and psychopathic these days are catch-all, plastic terms put upon virtually everyone who is outcast or held within state institutions to hold them there as long as possible.
Montesquieu's Lettres Persanes(sp?) so aptly stated: 'By opening so freely their lunatic asylums to their suppossed madmen, men only seek to assure each other that they are not themselves mad'.
I have an old situationists International tract - "In and against Decomposition" authoured by Guy DeBord in '57. The SI were revolutionaries and this particular piece addresses the need to undertake "the collective task" for "the creation of a new cultural theater of operations". It critiques the decomposition of modern and traditional arts and calls for revolutionary artists to "experiment with what lies beyond the present atomization of worn out traditional arts". It presupposes that artists(of all forms) are themselves architects of culture and society as well as shaping the state of the world". The best known art appearing in our time is controlled by those who know 'how far to go too far', that it is timidity that prevents people from looking beyond the present structures, thus dooming them to wallow in the decomposition.
Art is given free creative activity in capitalism which in turn seeks to coopt it to further its own ends. This grant of perpetual privileged concession of pure creative activity is the very reason why in capitalist systems art is the most prestigious and precious status symbol.
The most innovative or revolutionary artist stand upon a pinnacle of cultural and social influence and can, through artistic expression, infuse the system with more life blood and deal it a mortal blow.
take care, peace and love, La Ron McKinley Bey
Other posts by this author
|
2016 jul 20
|
2015 mar 12
|
2013 may 23
|
2013 may 22
|
2013 mar 10
|
2012 jun 18
|
More... |
RSS
Replies (8)
yeah maybe from your art teachers perspective you were doing something wrong cos like the bible says Tho Art my God and like you said about the qu'ran its a very special kind of poetry and true science comination, whether you art teacher was aware of it or not its possible that it felt threatened by your fresh approach, kinda how the situations talk about art can be a gigantic factor in changing social situations of oppressions as you clearly say in our comms too, i always liked those situationist anarcho types. with music visual art and writing we can help be a type of co-creator with God in our realitys, that cud be why the 'powers that be' are so quick to traumatise ppl who have creative talent,it can scare them. i not very good at writing your very good at art and you work hard to cultivate you talents from Allah despite the harsh and unfair circumstances you find yourself in. i may not have the talent you have but at the moment mi circumstances are easier so i trying write a little again. like they say the pen is mighter than the sword cos its the pen that writes the orders that sends the ppl to war....the future my psychatrist aka psychic trickster wrong type of headshrinker scripted up for me not looking too bright so i need to try take control script up mi own future withI
some Martin Luther King hijacked vision
get the feeling its about to end
gwan overcome mi inner schisms
redeem mi soul and start again
i still bit backwards
still going too and fro
and getting nowhere fast
dreaming in the waking world
like sum noongar dreamtime farce
i plan to be Wide Awake in W.A.
if i get to Tec's concert
will the music inititate or kill me
i aint no gorilla
more a primative monkey type
in need of a few degrees
i reaching the end of mi personal bible
sue me for slander, do me for libel-
if you think thats blaspomous
but the first book on the course
Jah gave me when i woke up
was Woman on the Edge of Time
so i dont give a fuck
i reaching the final chapters
i starting see wat time it is
time for signs, time to raise the alarm
i see the crosses on mi arms
matching the ones in da sky
we on the crossroads of time
i need 2 get dead dead sirerous
and open mi 3rd eye
illuminati trying to kill me
i blame myself
i wrote in a poem once i was
martyred for da wrong side
i meant in the past
but i like sally salmon swimming upstream
crisscrossing the time lines
getting stuck inbetween
the ying and the yang
i like the ball inbetween
tag me up i lonley like a long distance runner
playing martian tag, running the numbers
like a hobbit collecting for the fire
all believers will touch it
the qu'ran says so
like Y'ashua says we reap wat we sow
i living in hell but heavens mi home
stole a spaceship came after Tec when he fell
i was a bit young and green
i shouldnt have come
cant worry about that now
whats done is done
reactionary suicide times fading
its the other side of the coin
i cant say wats to come
only Jah Jah knows
but if i get the choice
and these signs become clearer
cud be Ethiopia in 2013
wen i lay down mi life
call it revolutionary suicide
like Huey P Newton
mi cats a black panther
he was white before
the rspca whores killed him
and he got reborn
like the ac/dc tune
he came back in black
his new name was Oscar
it means destiny
i call him that
and his old name Bageera
he like a double barelled gun
http://www.jahtruth.net/newgr.htm
The word Newgrange is derived from New Grianan which means New Sunhouse and it was built by, and is the tomb of, Aengus the Ard ri (High-king) of Tara, who reigned in the latter-half of the sixth century B.C. and whose name is carved in Ogham Script on Stone C4 in the West Recess inside the tomb.
The hieroglyphics on Stone C4 in Newgrange's West Recess
that show a "ship" (with four passengers: - Jeremiah;
Teia Tephi and her two hand-maidens) and spell
the word "Aengus" carved in Ogham Script.
On the East side of stone C4 there is carved a date-palm with a wavy line attached to it. This date-palm represents queen Teia Tephi, Aengus' mother who came to Ireland by sea over the waves from Jerusalem and confirms that the Aengus referred to in Ogham script, on the same stone, was indeed the third child of Teia Tephi and her husband the Daighda, Eochaidh mac Duach/Dui, the High-king of Tara. Aengus was also known as "in Mac Oc" (the Young Son). Part of the Ogham Script has also been described as a ship, which is further proof of Aengus' relationship with Teia Tephi, his mother, who came by ship from Jerusalem to Ireland with Jeremiah the Bible Prophet. Teia Tephi landed with Jacob's Pillar Stone, the Bethel - Lia Fail Stone, at Howth on the 18th of June in 583 B.C.
West Recess
Queen Teia Tephi had The Mound of The Hostages (2 Chron. 25:24) built for her at Tara Hill and named "Teamur" - "Teia's Wailing-Wall'; where she wailed over the destruction of her native Jerusalem, just as people do today by the "Wailing-Wall" in Jerusalem itself. It was also called Duma na Gaill, meaning "Purity of Palms", according to the Irish Metrical Dindsenchas, Part 1; page 17; line 39. The Mound of The Hostages/Teamur was so called, because, before being covered with earth at a later date, it was the wall where the Palm (Teia Tephi) fasted; prayed and purified herself. A later Jerusalem - Palm link is "Palm-Sunday."
Aengus' mother; the daughter of king Zedekiah of Jerusalem; called Teia Tephi, who was brought from Jerusalem to Ireland by Jeremiah (the Bible Prophet who was buried in Cairn T, at nearby Loughcrew) wrote in her autobiography that Aengus was very arrogant and that he would worship money and build the grandest tomb in Ireland for himself to be immortalised in human-memory but that it would be violated and ransacked by future invaders and grave-robbers.
Because of his mother's prophecy concerning his tomb; that he knew would be fulfilled, for Teia Tephi was God's Chosen Seed and the Tender Twig (daughter) of the lofty Cedar (line of David) that Jeremiah uprooted from Jerusalem and planted in Ireland (Jeremiah 1:10), as he was commanded to do by God; Aengus had the blue-prints / building-plans carved into stone and placed in and around his tomb. He did this so that the tomb could then be rebuilt if it was badly damaged by the prophesied future raiders.
Jeremiah 1:10 See, I (God) have this day set thee (Jeremiah) over the nations and over the kingdoms, to root out, and to pull down, and to destroy, and to throw down, to build, and to plant.
The carvings you can see on the stones are astronomical calculations, done in great detail, without which it would have been impossible to construct and align the tomb and its roof-box aperture with the Winter Solstice sunrise. The vertical lines on kerbstones K1 and K52, which are on opposite sides (at the front and the back respectively) of the tomb are sighting-marks for lining-up the passage with the Winter Solstice sunrise.
Aengus believed that he could then travel along the light-beam to the sun and join his god and become divine himself. This belief was common in many parts of the world especially in Egypt, where the Celts, who are all Israelites, had been in slavery for 400 years, until Moses delivered them from slavery in the Exodus, after which some of them came to Ireland as Celts. Aengus's great pride and his belief expressed by his tomb caused him to be wrongfully deified, like the pharaohs, by his subjects.
The word Celt is the anglicised version of the Greek word Keltoi, which means the "people who are different" i.e. Israelites. The whole world according to God is populated by Gentiles, with Israelites being the minority who are "different" (as expressed in Deuteronomy 14:2 of The Torah - The Law) because they were commanded to keep only God's Laws - The Torah, which is buried in The Ark of The Covenant at the Hill of Torah-Taueragh-Tara. Israelites were to be a "peculiar people" unto the Lord i.e. "different from other people".
Deuteronomy 14:2 For thou [art] an holy people unto the "I AM" thy God, and the "I AM" hath chosen thee to be a peculiar* people unto Himself, above all the nations that [are] upon the earth.
* Special; Different (Oxford Dictionary).
The other people who came to settle in Ireland were/are the Tuatha de Danaan which means the Tribe of Dan, which was/is the fifth Tribe of Israel (Genesis 30:6), so, they too, like the Celts, are Israelites.
Genesis 30:6 And Rachel said, God hath judged me, and hath also heard my voice, and hath given me a son: therefore called she his name Dan.
The tomb itself is designed as an enormous cosmic egg, which was originally completely covered by quartz stone crystals, that absorb and retain the sun's energy, just like quartz-crystals absorb energy in many modern watches and clocks.
The floor-plan of Newgrange.
Plan of the tomb, showing the large standing stones that were used to
align the tomb and also the Kerbstones. The vertical lines on K1 and
K52 along with the large standing stones shown below were used to
align the passage and roofbox with the Winter Solstice sunrise.
Alignment of Standing Stones and Winter Solstice Sunrise.
The large Standing Stones around Newgrange; as well as being used for sighting and surveying benchmanks to line it up with the Winter Solstice sunrise; were also used to align it with the other great cairns of Knowth and Dowth. Standing Stone GC-2, which stands on top of Bronze-age burial pits, was used along with Mound 6 to line-up Newgrange with Knowth, which is the oldest of the three cairns. Other Standing Stones around Newgrange were used to align Newgrange with Dowth which is the next oldest; Newgrange being the youngest of the three.
Ireland has large copper deposits, and, using tin from Cornwall, the Irish people manufactured bronze. That is why Ireland used bronze rather than having to buy iron and is also why the Bronze-age continued in Ireland well into what was already the Iron-age in other parts of the world. Ireland had copper-mines at least 3,000 years ago when the Phoenicians (Israelites) and others from the Mediterranean area first began sailing here to buy bronze. It still has the largest copper-mines in Europe today.
Standing Stone GC -2 and the other Standing Stones date from the Iron-age, not the Bronze-age, during the latter-part of the sixth century B.C., which is when Aengus was the Ard ri of Tara; his mother having died on the Calends (first) of August in 534 B.C.
Aengus' older brother; Aedh, Teia Tephi's firstborn; died whilst still a teenager and was buried in the passage of the Mound of The Hostages on Tara Hill, and so Aengus inherited the throne in his place. Tara Hill was the Capital of Ireland and is well worth visiting, not only because of its history and because it is still the Spiritual Capital of Ireland, but also because of its natural unspoiled beauty and the spectacular view of the surrounding country-side from the top of The Mound of The Hostages*.