I look all around,
at the cleansing of nature,
the meeting of times.
What is happening?
The birth-pangs of Mother Earth.
The coming of Light.
What’s our charge in this?
Present in the shifting dream,
to witness and steer.
What Is Our Charge?
Tag: Shamanic Arts
Triad Experiment #2
The second time E.J. Gold’s Triad was used was when I put together a small party to rescue a friend and relative who had been tortured and killed in Central America, and had subsequently been stuck in a bad place in the underworld.
My brother and I scried his location and situation. He had been killed by a gang in El Salvador, and buried alive next to a river by the border with Honduras. My brother and I put together a band of warriors and set up a rescue.
We gathered our tools and entered the bardos, headed to the underworld and travelled down to the place where he was. As we got closer, the atmosphere was of course getting heavier and heavier, and replete with the ambushes and pitfalls typical of the hell dimension.
At the right moment, I used the Triad to open a portal to the higher dimensions, and once rescued, our cousin could safely pass through with us, facilitating a quick exit and restoring his voyager’s memory. There was a sublime pause as he stopped to thank us and his gratitude touched everyone’s hearts.
Mission fulfilled. Liberation was attained by a tortured soul. The gate was closed and the Triad put away.
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Triad Experiment #1
I received this Triad from my good friend E.J. Gold in 2015. When he told me he was sending it he said simply: “You’re a shaman. You’ll know what to do with it.”
I opened the package with great delight; E.J. never ceases to amaze me with the useful technologies he tirelessly provides. This time, I was not to be disappointed. Far from it. As soon as I opened it I could tell I was holding a sacred artifact. I saw in the center of the triangle a shimmering membrane, and with just the focus of attention effortlessly available to me in my Santo Sanctorum, my temple, I immediately noticed a strong and vibrant circle––or rather, a sphere––all around me protecting and sealing the temple along the lines of the edge of the protective circle I had earlier established. I noted this effect, and safely put the Triad away inside my altar for later experimentation.
Within a week, I proceeded to the first experiment. With two friends, I used the Triad as a focus amplifier to open a portal. Any reader with good knowledge of practical magick can deduce the function of a triangle. A portal immediately opened up behind us, and while my two capable assistants guarded the circle, I went through the portal and found myself traveling to different parts of the past of this incarnation.
I’ve been here before. This is the retorno, the ability to go back and forth in time at any point in time during the life of the body, to relieve and examine any moment of the life time. The portal gave me immediate access and propelled me to the different points I wished to visit. It boosted the effect, making it immediate, fast as the speed of intent, and quite tangible. I relieved key points of my life.
I went through my lifetime about six times all together, at times changing a few things but mostly coming back to this time line where I am doing this work. I ended up not so much changing anything, but polishing some rough edges of my experience and planting a few habits early one, a couple of shocks so I could remember at other key times.
Eventually, after many years of exploration and work on the life stream, I came back to my assistants and closed the gate. We went outside to assess the effects of the voyage, notated the results and again put the Triad away.
This was the first experiment. Tomorrow, I will share with you the second experiment.
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There is an Ocean…
There is an ocean I see with eyes of ancient memories, an ocean of a deep blue. The depth of the ocean feels exactly like the depth of my soul. The sound of the ocean comes hesitant at first, as if wanting to become present, real.
The gentle reverberations in the surface of the ocean are seen with the eyes and felt with the skin. It moves in soft rhythmic jumps. I sit at its shore feeling sand and pebbles under my feet, and every minuscule portion of sand appears to be complete unto itself; as if every particle of sand creates a unique sensation that travels through my body; as if I could get lost in every single sensation, and all of them are felt at once.
There is an ocean of deep blue. Its depth can be touched by the proximity of my hands. The closer I move my hands to my sightless eyes, the deeper I touch the profound stillness of this ocean. I sit as if waiting, but I don’t know what I wait for. I sit at the shores of this ocean. I hear the crashing of the waves, and each reverberation of the waves sounds as if it is my voice talking and moving and reverberating through the skin of my back.
I sit. For a moment, I do not know if I see the dark waters at the edge of time and creation or if, perhaps, I simply stand at the face of the abyss at the end of a life that I can no longer remember as being mine.
For a brief moment, the terrible thought begins to form that perhaps I do not know where I sit; that there is no ocean blue, no peaceful movement of waves; that perhaps all that is happening is the projection of my illusion of safety onto the immense, incomprehensible chaos––a non-existing nightmare that moves and reverberates, a darkness darker than black, a void, an emptiness that moves, an immensity such that the more I stare at it the more it looks towards me.
That look comes at me as a stream of sound, of words being thought by something flowing through me. I no longer know if these thoughts, these words, are flowing out of me or into me.
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Sharing my Inner Space/ 32 years of Art (a book review)
I have read Martivón Galindo’s Sharing My Inner Space, and I realize now that with every painting and every poem she has been marking a special space in the journey that so many of us undertook back in the 80’s, when the Salvadoran diaspora uprooted us from the place where we wanted to live, love, die, and create. We left because we had to, away from decades of war and oppression, and everywhere we went we kept looking hard inside the most recondite corners of the heart for that something we brought with us, to make a life and create art, and to find ourselves even in places that forever made us feel strangers.
In this book, Martivón gifts us with a tremendous experience through the use of poetry, print, and painting. It is a powerful storm that penetrates your consciousness under the command of an accomplished artist who has dived into the depths of her soul, and confronting the turbulent history of war, exile, emerges in ultimate triumph a master of her perceptions. She takes us through her encounter with exile, an event that shaped an entire generation of Salvadorans, but she does more than make us look at the world, she takes us with her as the seed of her soul emerges from that encounter triumphant, and continues to create and define her artistic world.
Martivón is not content with showing us her skill and creativity. She shares with us that most intimate process of her genius: the process she has gone through as she discovers her true self. We witness this discovery when she manages to put in word and image the creative powers of a soul that is always seeking justice and always burning bright with the wild fire of truth.
Porque lo invisible es el misterio
encerrado en la lágrima de una estrella
Ayer como hace treinta años
busco lo que no está
para encontrar mi luz
mi propia sombra
en el invisible gran universo de lo posible––Martivon (pg. 160)
Every great artist has an inner process through which her silent, intimate center faces the vast expanse of the unknown, and every one of them produce art that touches in us that most intimate abode. Their art awakens somehow our own truth. Martivón’s art does that for us, of course, but she takes a step further. Sharing My Inner Space is a living document showing that invisible inner process through which her genius emerges.
Witnessing this book is a most enjoyable experience. I promise you, the core of your perception will be touched by it, and you will find yourself on a journey through your own inner space. I recommend this book unreservedly.
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What Is the Etheric Double?
A reader, Rohit Agarwal, asks:
Going through golden flower book , is just simply amazing experience.
I have a question , when koyote ji , says that in etheric double , one can go anywhere on this planet. Does he says in different sense or literally it means one can roam around the entire planet just as going on world tour spending hundreds and thousands of dollars.
Asia , America , europe , all of world is it accessible same way as in organic body and all the experiences one can have at these places in organic body , one gets in etheric double. Or is there some differences in experiences of organic body travels and etheric travels. Is something of organic world experience missed in etheric travels or everything of organic is included plus more.
Please explain. It will help greatly.
Thanks
———————
Viento de Octubre responds:
Asia, America, Atlanta, the bottom of the ocean, my brother’s prison cell, falling with the rain, bouncing with dessert sand in a gust of wind, the edge of the thermosphere…
Koyote’s intensives (Diaphanous Shell, Bhakti the Future, Meditation, Aka Dua, The Dreaming, etc.) all contain the experience of such feats and tasks as he writes and talks about. While the books contain the recipe and the instructions, his personal training include the practical, tangible experience.
There are differences, some as Mary F Scott points out, and then some! The etheric body may come to be known as having its own intelligence. The process taught by Koyote of building an etheric body out of the substances already being produced by the organic body, mixing them with the genius of magick and the ancient teachings, and then training and learning how to use it well enough to transfer a piece of your consciousness into it, turning it on, and have it produce other substances—the ones required to build an astral body—all has to do with a very organic-like process of growing and evolving—all very much within the limits of nature as defined by the shaman and the alchemical magician.
The communication between the etheric body with the conscious, cognitive mind takes learning the language, training, adjusting. It is much more like Rose says, personal. No one can tell you what heat is communicated as to you, if your mind translates it as “hot” or “danger”. The communication between etheric body and organic body is instant and immediate, on the other hand. The body will seek to nurture it and protect it, and objective communication is possible. For example, heat is communicated by the etheric body to the physical body immediately; and, a party of voyagers, such as is always the case in Koyote’s intensives, encountering heat in the Dreaming or etheric waters will all tend to communicate the encounter—some as heat, some as color, some as a dangerous presence, etc.
The physical body is not usually there in all its glorious presence when voyaging in the etheric plane; it plays its own role, though, definitely, and must be trained to handle the voyage. With excellence, as Koyote teaches, the physical body is tangibly present and aware throughout. The etheric body, regardless, communicates directly what is being encountered. This communication, with practice and experience, may be mastered and fine-tuned. Even before mastery, a group of etheric and astral voyages will come back to report, not only personal experiences of objective and collective data, but also changes to the very space their physical bodies have been in—things like increased heat, a mist in the room, a crispiness in the air, the presence of an angelic breeze, time distortions, sparkles in the atmosphere, etc.…
The bodies each report what they are capable of reporting, and they each report to the same internal agency, each in their own language. The magician, the voyager, the dream yogi manages to master the language of these bodies in order to communicate instructions that lead to the manifestation of Will. In many ways, the etheric experience is, then, as tangible as the physical experience to those who have the dreaming body fully developed.
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Transcend the Limits of Perception
The ultimate end of the Toltec warrior’s training is to master one’s own perception. In a sense, this is also the aim of yoga, magick, and alchemy. In all these esoteric traditions, the aspirant seeks to fine-tune their awareness to perceive and hold the consciousness of the cosmos, the supreme being.
These practitioners seek to change the way they perceive the universe. They seek to be able to see the universe from the perspective of God, and in this manner attain the knowledge of the gods. It is an act of ultimate aspiration for those who follow the path of knowledge and self-transformation.
The way to do this is to learn to transcend the limits of human perception, and identify with the perception of the infinite. To stand in the place of the supreme being and witness the beauty of creation is to become one with all, even if for a moment. The life that follows this supreme vision will be vastly different from the life of an ordinary human being, a life far beyond the limits imposed by the false beliefs and petty agreements we have allowed to cloud our vision.
–from Dreaming’s Gate: A Doorway to the Higher Dimensions
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A Doorway to the Higher Dimensions
This, then, is the key to learning to consciously go from the waking to the Dreaming, and indeed to any other plane of existence where we have formed a body:
You must learn to withdraw your attention from one plane and place it on another at will.
If your attention is placed on the external world, on the stimulation coming from your physical senses, then you will withdraw your attention from the inner world of the dreaming. But, if you know that the Dreaming is always there, it is a matter of just moving your attention from the world your senses perceive and placing it on the inner world.
This movement might seem hard to do at first, but it is actually very, very simple and easy. It is so easy that we do it every day and every night. The difficulty is not in withdrawing the senses from one plane and placing it on another, since we do that every day. The difficulty is learning to do it at will. It is a movement, a switch we have been doing automatically, like breathing and the beating of our heart; but just like breathing, we can also decide to do it voluntarily.
You can choose where your attention will be placed.
You can use the Dreaming’s Gate to train yourself to gain mastery of your attention, to access your dream world at will; and later, even, to use this ability to access higher planes of consciousness.
Click here to preorder Dreaming’s Gate on Kindle.
Message me here to order a signed paperback.
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Are They Still There?
Today, there is no volcano in my view.
No people.
No path.
No city.
No hum.
Today it’s just the fog
holding and dissolving billions of worlds.
They have become more clear and solid.
They exist within me, and without.
The word showing an external reality is no longer dead.
It’s the gate keeper who is dead.
Who, then, punishes the archangels?
Or do they exist inside me in caravans?
Do they exist in my grandmother’s room,
collecting dust and gathering consciousness of little children?
Does the manticore fly?
Does the unicorn travel on solar paths?
Is the man in the cross still there,
looking at me with those eyes,
asking me if I know that I am there
nailed to the same cross,
to this creation of my mind,
unable to move and going everywhere at once?
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We Create When We Read Poetry
The writer is an author creating the flow of the speech. However, when we translate a manuscripts from one language to another, we reinvent it. We create it again. Borges explained that the translator of poetry has to be a poet, because when translating poetry, we recreate. We do not just change the words from one language to another, we have to interpret it and reproduce our own version in a different language.
And even when we read the written word we must translate the meaning, and in that we reinvent it, recreate it, give it a form. We can’t help but be the co-authors of everything we read, everything we understand, and everything we perceive.
