The Unbinding

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I don’t want to sound like a total fanboy but I’m going to sound like a total fanboy: I absolutely love everything that Dana and Greg Newkirk are doing with the paranormal. I could take or leave bigfoot kind of stuff, and haunted objects, which is what else they’re known for. However I think that both Hellier and The Unbinding are really, actual legit pieces of magic art. You can even watch Hellier Season 1 and Hellier Season 2 for free, which is quite nice of them. I did just buy the blu-rays having waited forever for them to come back into stock. They also live close-ish to some old stomping grounds so the sleepy town vive is another thing I love. Weird stuff does tend to happen in smaller towns.

Hellier and The Unbinding are the same story, in some ways. Both of them take place roughly in the same period of time, which makes me wonder exactly how much the mythos are overlapping in some way. Certainly the use of some of the techniques are shared between the two. Think of things like the “human spirit box” which we see used in Hellier and in The Unbinding. Hellier seems to get more attention from the magical techniques rather than The Unbinding, which is sort of curious considering that I put The Unbinding closer to “magical weirdness” than I do Hellier which is more like “creature weirdness”. It would have been nice to see something like a ouija board or seance operated near the statue just to see if it wanted to talk that way. Even just spending more time with the thing might have led to more interesting results. However unlike Hellier, their experience seem much more straightforward, and unbounded by technology. They are, actually, more pagan in that respect.

I know I’ve written about this before when I was on the Hellier kick but one of the things which I find genuine about the presentation is that they’re not afraid to be wrong. They’re not afraid to go down little rabbitholes and side plots and entertain an idea. A lot of occultism, especially “developmental occultism” like what we think of with John Dee or we see in Hellier/Unbinding is experimental. Try it, see what you get out of it, does it make sense, and go. This leads to a lot of other “High Weirdness” factors, like things not making sense immediately or getting answers to questions before you even know to ask them. Dana says towards the end of the film that “I knew the ritual started when we got to the mountain”. That really struck a chord, there’s been many times I’ve been planning a ritual and planning it to death and the simple act of planning and rehearsing it in my mind has seemed to effect the ritual in actuality. This is not an excuse to go and then have a pat on the back and say “well done” and not do the ritual. The ritual itself is important. But magic does have a “grind” phase sometimes and the rehearsal is important too. Magic is most importantly experiential.

The other thing I quite appreciated was that they didn’t chase myth. I think everyone who has been involved in the occult for any amount of time knows that there are broad tenants which must hold true which represent brass tacks and structure. Things like fertility cults are necessarily about fertility and they lose meaning when that component is removed to the point of becoming nonsense. The fertility cult cannot have meaningful myths about being a fertility cult if it’s not a fertility cult, as an example. We can find that core kernel of truth and find where the myths come from – a raison d’etre. The myth itself isn’t the gospel, and so getting the myth wrong isn’t a huge deal. However when they discover the essential quality of the idol, then the myth makes sense. The idol itself is wood and iron with bits of rope, but no-one would confuse a soul for a body. The same goes with the myth, there’s a difference between “what the story is” and “what actually happened”. There are entire legal systems and courts and history books written trying to nail that down, but stories serve as guideposts to approximate the truth and are not a substitute for it. The myths are supposed to help with guideposts, but they’re just that. I don’t feel, for instance, that I know them personally merely from watching the show. The show is their myth.

The last thing they do which I really like is they maintain a human perspective on things. It’s obvious during the ritual that they’ve immersed their emotional energies (and all their other energies) into their work. They’re actually doing magic even if they downplay it quite a bit. It’s not a show about magic per se. It’s a show about results. The result is covered in the end where they give the corpse of the ritual a respectful burial, which was absolutely the right thing to do. (Don’t think I’m not tempted to make the drive to that mountain…) They also stay grounded in observable materials. They don’t fall prey to “well I’m a Witch and so what I say is what is just going on”. There doesn’t seem to be a lot of ego with their work, and they’re OK admitting that they’re scared, or that they observed something, or that they didn’t observe something without immediately trying to hammer it into that little myth box. What particularly struck me as interesting was they generated all this documentation about phenomena, and that became sort of it’s own myth. There was a story there that held together on it’s own. Then they go on a hike because things “lined up” and then we later find out that the hike starts in the night before and ends on an auspicious feast day.

Absolutely everything about that screams to me that the magic of whatever it is – totally working. Coincidence is really the language of magic where things just seem to line up. Even Crowley says that he is beaten unto obedience to the Gods in the Book of the Law. That’s a real thing: These Gods get ahold of you and you end up having opportunities presented to interact with them in some way, shape, or form. When we got to the end and learned about the feast day, it just further confirms the myth. However, the myth itself isn’t present. They don’t know it. They don’t know who or what they’re dealing with until the end. What they do know is when things happened, and they know that things did happen like the footprints, and they make these very people centric observations. The Feast Day isn’t a feast day because that particular god pointed to it on a calendar, it’s because the people who were involved with that God realized that certain things tended to happen around certain times of year and so it became the feast day. I think the folks who tend to try to hammer mythology onto their occultism confuse this idea. Birthdays, for instance, are because something happened (the baby was born) rather than assigned to the baby and then the baby just happens to show up. Paganism is people-centric. It’s not something which has a written gospel. Recording all the observations and then not being able to readily google them all together I think lent a lot of credence to the story.

Was anything actually accomplished at the end? I think the stories are important on their own. I think that the story was the value. The people looking for “evidence of spirits” or whatever need to look beyond the trailcams and recreation of wet feet and embrace that flow. I’m sure there’s going to be another “zero stars: no goblins” sort of take that follows this around but if you’re interested in myth, The Unbinding is just absolutely a fantastic ride.

High Magics Aid: Part 3

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Youtube is being a pain about verifying my account so the links aren’t clickable. Given that it’s been over a week of back and forth with them I’ve largely given up trying to make youtube happy and I’ve simply decided to publish the video. Since I don’t particularly aspire to be a youtube star, it doesn’t much bother me.

Last weekend was the annual Midatlantic Gather. I’ve been honored to be invited to each of these and given a presentation each time. I look forward to these every year. Usually the content is geared towards Gardnerian Wicca of which I’ve been a member of for something like seven years now. There are several gathers around the country. More recently I’ve tried to re-tool my content to be pagan content, and this year wasn’t an activity so much as a tour of High Magics Aid.

Previous years I have hosted activities including Enochian Pictionary (pretend to be John Dee and receive the letters), talked about Solomonic Magic, talked about the degrees, and so on. Pagans could attend some of those and not others. The coming year will probably be a Gerald Gardner timeline of significant events in his life, and High Magics Aid, but for initiates so we can be more on the nose…

Concurrent to that was the giant OTO shindig I got invited to (literally a day after I signed up to the Midatlantic Gather), and a pagan festival down in the south, which people also invited me to. Unfortunately everyone really likes that weekend after the heat breaks. I had decided to support the Midatlantic Gather as it’s still young and so bags were packed!

Being the “tech guy” for these (read: the only person who owned a projector) meant that I completely forgot to record the talks. Worst part is that I had my laptop with me, I could have done it in a pinch. However the vintage air conditioning and hardwood floors made things echo a bit, and I was pressed for time, so slides were cut. The following video includes my studio mic and the slides are re-added.

From the video description:
The Slides: https://docs.google.com/presentation/d/1dWk9e8FJYOtKIsxYBucjbfzB_OBvEOaYdIzlkwovEF8/edit?usp=sharing

Errata:
* Kristen Dales should be Karen Dales, I apologize for getting her name incorrect.
* Jack Bracelin was a member of Bricketwood Coven, not New Forest Coven.

Blog entries:
High Magics Aid Part 1: https://phergoph.wordpress.com/2018/10/14/high-magics-aid-part-1/
High Magics Aid Part 2: https://phergoph.wordpress.com/2018/12/24/high-magics-aid-part-2/

Books cited:
High Magics Aid hardcover rerelease: https://a.co/d/c1NaRyJ
Hamlets Mill: https://www.amazon.com/Hamlets-Mill-Investigating-Knowledge-Transmission/dp/0879232153
The Roots of Witchcraft: https://www.google.com/books/edition/The_Roots_of_Witchcraft/XbclAQAAMAAJ?hl=en

Facebook:
Traditional Gardnerian Wicca Seekers: https://www.facebook.com/groups/1173826226740409

Where was Donna?

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Dorothea (Donna) Frances Rosedale and Gerald Gardner married in the 16th of August, 1927. She was related to Gerald’s sister-in-law. As far as Gardnerian lore goes, she’s a shadowy figure, and most people assume she wasn’t around Gerald for his circle activities. She is mentioned by Bracelin and Heselton, within academic studies, but she also is referenced by Lois Bourne.

Gerald himself has been much maligned, probably to the same level as Aleister Crowley. A large part of that is due to the sensationalist press of the era, but even in modern times, Gerald has had to suffer from the slings and arrows of the rumor mill both inside and outside of The Craft. It’s really not hard to see why Donna would have said “to hell with it” and chosen to remain relatively unknown. Most of the rumors, these days, are dismissed easily with some cursory academic research, even from the outside.

Donna was actually active in Geralds life, and was responsible for keeping his immediate family together. In 1935 Gerald’s father passed away and left them £3,000 (£272,972 today), and it was Donna who insisted they return to England after an extended stay in Malaysia. She then rented the original flat at 26 Charing Cross Road. We really don’t hear much about her until 1960 when she dies, but Geralds health suffers greatly when she passes.

Lois Bourne helps us place her around further adventures in Gerald’s life. The grain-of-salt warning about Bourne is that she wrote her books in 1979 (A Witch Amongst Us), 1989 (Conversations with a Witch), and 1998 (Dancing with Witches). Gerald died in 1964. That places Dancing with the Witches, the book where she most discusses Gardner, 34 years after he passes. I was lucky enough to get all three books for under $100, but they should be read as personal remembrances rather than a study of Gerald Gardner. They are quite good through that lens, even if they don’t quite line up with Bracelin and Heselton.

Inside of Dancing with the Witches, she includes two photographs. One she attributed to Donna, and one seems to imply that Donna was the photographer.

“A happy picture of me with a sprightly looking Gerald Gardner, photographed by Donna, Gerald’s wife, in the tiny garden behind their cottage in Malew Street, Castletown, Isle of Man. Gerald had a workshop above the cottage where he made magical implements and Donna had to call him to tea in the garden. Summer, 1958” (Lois Borne, Dancing with Witches)

Sadly that places the photograph two years before Donna dies, and 6 years before Gerald’s passing. However this also shows us that Donna lives with Gerald, and she is comfortable with his Craft activities. She knows about the workshop and what he’s doing and she is present in his life. This also means that she knows who he is associating with, and what he’s doing with those folks. It really wouldn’t be a leap to say that Donna is very likely participating in the Craft activities, because she has put the effort into caring for her husband.

“Arriving at Douglas Airport, Isle of Man, June 1959, to spend a few days with Gerland and Donna. I was always greeted at the airport by Gerald, who would be jumping around in excitement. He loved to have visitors as I think he found life on the island rather dull at times.” (Lois Bourne, Dancing with Witches)

Again, we have a Gerland Gardner with his wife Donna, who seems to the be the photographer, with Gerald being just out of frame. Lois then says that they were excited to receive her as a guest, and as a witch, Lois would have circled with Gerald. My completely unsubstantiated speculation is that if Donna is this active in the guest activities and the reception, she is probably also active in the circle.

Now for the bit that requires the suspension of disbelief, there are two more photos where we can confidently say that Lois Bourne did not take them, nor did any of Gerald’s well known associates. Given that both him and Donna enjoyed hosting, and that people seemed to want to be seen with Gerald, and that none of the guests are probably going to be imposed upon to take the pictures, we can speculate that they were also taken by Donna. I have reproduced them here with Lois’s captioning.

“Gillian and Freddie Lamond, Lois, and Jack Bracelin inside the witch’s cottage at Bricket Wood in 1959. On the floor in front of my left foot is a candle remaining from a witchcraft ceremony.” (Lois Bourne, Dancing with Witches)

Who took the photograph? Here is a hint: Gillian and Freddie Lamond are mentioned prominently, as is Lois, and Lois is careful to point out the origins of the candle. She gives us the context that this is a witchcraft ceremony candle, not simply some museum piece or a carelessly left fire hazard.

In 1959, Lamond met his future wife, Gillian, and they moved into a flat together in September of that year. In August 1960 they married, and a party was held by coven member Jack Bracelin at Fiveacres nudist club, where the marriage was blessed by Lois Bourne, the coven’s High Priestess. The historian Ronald Hutton remarked that this was the first known example of a Wiccan marriage ceremony.

Wikipedia: https://en.wikipedia.org/wiki/Frederic_Lamond_(Wiccan)

In my opinion Donna is the photographer, wanting to capture the soon to be married couple as they guested with them.

“Coven members outside of the witch’s cottage, Bricket Wood, 1959. Left to right: Jack Bracelin, who managed the Bricket Wood club and was coven leader; Freddie Lamond; Lois; and Gillian Lamond who had beautiful titian-coloured hair and a lovely sense of humour.” (Lois Bourne, Dancing with Witches)

Again: Who took the photograph? It very much seems that the photos were taken close to the same time given the date of 1959, but also the clothes haven’t changed at all. It follows that whoever took the first photo also intentionally did not appear in the second photo, and so it is probably someone familiar to the set. While true that Gerald himself doesn’t appear in either photo, it could also easily have been his wife, Donna. The lamp in the bottom left implies an eye for composition, which could imply that Gerland is the photographer as he would have developed that sense from his photography of religious artifacts. We’ll never know!

Happy Birthday, John Dee

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OK we’re a bit late for this but John Dee was born on the 13th of July, in 1527. Probably. We’re not really sure since things like calendars were up in the air, and the leap year wasn’t quite nailed down yet, but it should be sometime in there. I thought it might be a good time to write up a quick overview and hopefully stoke the interests of people who haven’t caught the Dee bug yet.

Dee is about the final place in history we can pin “magic” and “science” as co-existing. This is really a darn shame since there’s more than a few tricks up Mother Nature’s sleeve. A good example of that is the folk belief where putting things out in the rain will purify them. It’s not just a folk belief, we’ve recently discovered that there’s actual science behind that effect. Science, in Dee’s time, was alchemy.

Alchemy was a mixture of scientific effects and spiritual effects. In The Secrets of Alchemy, the author reviews several alchemical experiments from the perspective of science. The author focuses principally on Europe, but alchemy as a practice can trace its roots back to antiquity. Imagine, for a moment, if you mixed two innocuous powders together, and suddenly putting a spark to it produced a flash and a bang. It would seem like a miracle to the layperson, who’s excitement was mostly confined to slow moving fires and woodworking. However this captures the imaginations of many people around the world that there’s something else out there.

Now let us imagine for a moment that you take a bit of sulfur, which stinks and it’s yellow. It also can be found on the ground and in the washings from burnt coal. Into that you mix some charcoal, hardwoods are best. Also, you pee on the whole mess. In fact you might accidentally make this mixture burning down the local outhouse by accident. Say, if you lit a careless pipe to smoke in there while doing your business to cover up the dreadful smell. What is the result? Gunpowder! We understand the recipe from modernity, and we understand the chemical composition and effects. We are so good at making the stuff that we blow up large quantities of it in celebration. Rewind to Dee’s day, though, and this is magic. Alchemists might look at the fact that this is mostly human waste, and they might surmise that some human energy has been put into the muck. They might notice that the crops grow really well when given manure and sulfur. This further reinforces the idea that there is energy put into that poop. Finally notice that this explosion happened from the chthonic realms. Daemons live in the underworld, and this explosive mix happened from a hole in the earth, and so perhaps it was made with the aid of spirits? Since two of the elements are earthy (solid), and one of them is watery (liquid), then we can surmise that in some cases combining them leads to air (smoke), and explosions (fire).

This is how Dee distinguishes natural magic, which is to say something like the willows making aspirin as a well known folk remedy, with theurgic magic, which would be communing with spirits for making what we think of as potions. There is not a clear “this came first” when it comes to natural magic, especially in Europe, or what we would think of as folk magic or witchcraft. In Dees day, Agrippa’s writings were published as the Three Books of Occult Philosophy (see also the Tyson version as being excellent), and Agrippa had even gone so far as to make tables of things which Dee relied on heavily. The Three Books have classifications of natural orders – a three leaf clover, for instance, is ruled by the number three for the number of its leaves, but also the color green. For the ancients, green and yellow were about the same color, although they would have said the sun was green for the most part and yellow was reserved for the colors of onions – sort of a papery white. Reproducing a page from the Tyson version of Three Books of Occult Philosophy:

Well, there’s most of a clue, why is a four leaf clover considered lucky? The folky answer is simply that it’s rare. It is lucky to find one so possessing something preserves that luck. However that wouldn’t have satisfied Dee. Dee would have noticed that under certain circumstances that the sun produced four “sun dogs”. Those sun dogs would have lined up with the four leaf clover, being governed by “four”, and the fact that the clover was green, and a plant. All this solary goodness would have impressed upon Dee that the four leaf clover not only was fortunate, being related to the sun, but also had all the properties generally observed with solary things.

Now compare that with the circle-with-a-cross which is the sun symbol in a lot of cultures and now it makes sense.

Dee also knew of the writings of the Greeks, and the Platonists. Dee’s world is not merely made up of comparing the leaves on plants with the numbers we all know from the Tarot. Dee would have read the Greek classics in his time at the University of Cambridge. The tetractys makes an appearance in Agrippa (Tyson edition, pp 252-253). Dee uses this when composing his Monad:

ALTHOUGH THE ONENESS OF THE POINT OF A CHIRECK REMAINS MOTIONLESS AT THE APEX, it is still not contrary of us to embrace a trinity of consubstantial monads, which appear to the ONENESS OF THE IOD ITSELF; THAT TRINITY BEING FORMED FROM ONE STRAIGHT LINE AND TWO DIFFERENT PARTS OF THE CIRCUMFERENCE.

SACRED SYMBOL OF ONENESS pp 4-5

This is really the foundation of Dee’s thought, and the Monad is the work he is most proud of. He would gift it to Kings and noblemen. Importantly, Dee does not start at Natural Philosophy, he enters the magical stage with a college education and a spiritual view shaped by Christianity but not beholden to it. For Dee, the pendulum didn’t start at the observation of the natural world, but what he knew from history and his college theological training. Cambridge shaped Dee’s efforts and their culture made a positive impact. Back 500 and some change years ago, it was certainly possible to know literally everything about a topic. A Summa Theologica was something which would have been in everyone’s library who was interested in theology, and it would have been possible, if not encouraged, to actually commit it to memory. The Summa Theologica is everything Europe knew about theology with respect to Christian theology. Where does a college educated man like Dee go after knowing everything about theology? For Dee, it was no longer sufficient to study scripture, he sought direct contact with the spirits and the divine.

This departure from education is what makes Dee interesting. At the time (1500 to 1600AD), hermeticism had gripped the European intelligentsia but it had not yet been formalized within broad organizational structures like Freemasonry (1717AD). Grimoires from the Middle East were starting to become available in book form, as were books of charms and magic from Ireland and Scotland. The Greek material was always present, but the spice and tea trade brought books from Persia to France, where they were translated into French, and from there into English. It’s important to remember that these things didn’t just start existing when they were committed to paper – these are things which persisted through time and were deemed worthy enough to be written on an expensive medium. Consider something we take for granted: paper. In grimoires, it’s a common charge to use virgin parchment, or even vellum. Back in the 1500s, both paper and vellum were frequently re-used by washing the ink off. Today recycled paper is the norm. In the 1500s, washing was typical. The grimoires knew about the washing, and required the use of freshly made paper and vellum. The same for wax: only fresh wax was permitted for the use of magic candles.

If you want to start a fight in the grimoire community – ask if “virgin wax” means “wax that was never used as a candle or seal” or if it means “before the bees have had a chance to use it”. After becoming a beekeeper, I am in the latter camp.

It’s likely that Dee comes into practicing magic the same way jokingly accuse people of being interested in witchcraft after watching The Craft. Dee is arrested early on for the crime of calculating. In 1555 Dee had cast horoscopes of Queen Mary and Princess Elizabeth. This attracted a religious inquiry, but Dee explained how calculating the path of the stars was merely mathematics. Nevermind the entire idea of stars governing someone’s path through life – math or no. The charges were raised to Treason until they were dropped, and the examination from Bonner earned him a friend with a mystic Christian view. Bonner himself was caught between mysticism and Christianity (a largely political force in Europe), and would eventually be sentenced to prison for his beliefs. Ironically the Protestants campaigned for his release more loudly than his Catholic friends. Once Dee is exonerated, he feels encouraged to tour Europe, and returns with “astrological equipment” per his shipping manifest.

I speculate that the “astrological equipment” Dee brings back is really a collection of magical tools. Given the overlap of science and magic in the era, and Dee’s approach to magic, and the books Dee had such as the material that would become the Picatrix and The Sworne Book, the tools themselves would have been used for astrological magic. Dee immediately applies himself to the creation of a Summa Theologica, but with magic. Dee’s work would eventually be carried on by Dr Rudd and his attempt to reconcile even more magic into a coherent Summa Magica.

Enochian itself gets discussed to death in the Llewellyn’s catalogue, but I want to discuss where there’s practical magic performed by Dee and Kelley. Kelley himself encourages Dee to keep the magic grounded. While Dee is an intellectual, and a philosopher, and always looking at the stars, it is Edward Kelley who takes a keen interest in what they would think of as demonology. Demons, in Enochian, aren’t the Devil and Satan but rather seen more like blind, primitive machines of the universe. This means that they are not intrinsically evil, but something like “the devil gives coin, the angels give you a mine”. The Devil, in this case, would have represented simple greed.

Kelley himself has his ears cropped and wears a floppy hat, as a result of fortunetelling. His procedure was to take the hat off, peer deeply into it, and prognosticate. Kelley also had unrestricted access to Dee’s library, and it is a popular idea to accuse Kelley of being the source of the “wicked spirits” in Dee’s work. The reality is that Dee himself doesn’t maintain much in terms of magical cleanliness in the early work, and oftentimes simply doesn’t follow instructions. While Kelley is working through the content in the Goetia or other magical books, Dee is usually found fishing. This comes to a head when Dee starts running out of money, and starts resorting to treasure spirits. The fact that this is even in Dee’s playbook I think is a tell – both Dee and Kelley are believers in magic, and in spirits, but maybe not in Enochian spirits.

Dee’s earliest turn to “low magic” comes when he’s seeking healing for Jane Dee: “Sept. 10th, my dream of being naked, and my skyn all overwrowght with work like some kinde of tuft mockado, with crosses blew and red; and on my left arme, abowt the arme, in a wreath, this word I red – sine me nihil potestis facere: and another the same night of Mr. Secretary Walsingham, Mr. Candish, and myself” (ref). Mockado is conspicuous because it’s not native to England, but would later show up as one of the main exports of the colonies as an inferior fabric. This might have been something Dee would have been in possession of, but much more likely it was a nod towards the establishment of the colonies in the new world.

Another example of functional low magic occurs late with the sinking of the Spanish Armada. Dee knows the armada is coming, but unlike the low magic before of simply wrapping the body in a specific cloth with specific colors and patterns, Dee literally builds the planet. After predicting that the English navy should not engage the Spanish, again by calculation, Dee then conspires to summon a storm. The exact phrase seen in accounts of the storm are that “God blew and they were scattered“. From what amounts to thirdhand accounts – we suspect that Dee took a globe (“a brasse vessel”) and walnut hulls, filled the half-globe with water and floated the walnut hulls on the water. My exposition is that the water would have been seawater, and it is likely the brass bowl had a map of the English channel engraved on it. Walnut is straightforward as hardwoods were the preferred material of ships. What happens in ritual was not recorded (or lost) but given how well realized this ritual was compared to the simple “dreaming” at the beginning of Dee’s career – I am sure that Dee summoned his spirits and blew the Spanish ships out of the channel. Dee had no love for the Spanish, and the political agents of the Spanish crown cause problems for Dee as he notes in his diary. Before the sinking of the Armada, the Spanish monarchy has identified Dee as the Queen’s sorcerer, and sends an ambassador to attempt to bribe him away.

If you’re interested in learning more about Dee, and his philosophy, and the shady dealings of “Edward Kelley” and the political games that ensued, I would encourage you to seek out historical sources. Skinner’s second edition of John Dees diaries is an excellent read. The same for Skinner’s treatment of the Great Table. Finally Peterson’s translation of the Five Books of Mystery rounds out the Dee basic reading list. If you enjoy history, philosophy, and political intrigue, I very much encourage you to pick up those copies.

All the Times Gerald Gardner Named a Body Part, Fertility, or Heterosexual Reproduction. A paper for seekers.

Update: There is now a Declaration of Belief for Traditional Gardnerians which outlines where the split in the community has occurred. It may be useful to consider that document within the context of Gardner’s quotes collected here.

The most critical part of this paper is the idea that if someone removes Gerald Gardner from Wicca, or removes or fundamentally alters the practices that he passed down (for example, removing the fertility cult emphasis which is central to the practice), they have ceased to be Gardnerian. The intent of this collection of quotes is that it will help seekers make a discerning choice for themselves.

If you’re thinking about joining a Gardnerian coven, and these quotes make you uncomfortable for any reason, please reconsider your decision. You’re even welcome to contact me and I will try to help you find a different tradition that will fit you better. You can also check out Gardnerian.us or Traditional Gardnerian Seekers on Facebook. Both offer high quality covens and let you know who is open to talking. Both groups service covens who uphold the tenets of the tradition.

If you’ve joined a Gardnerian coven, and you’ve been told to avoid Gerald Gardner, consider that you’re being manipulated. No-one of any worth will ever tell you “you can’t read that” or “you can’t talk to those people”. Statements like those should be a warning signs of a cult, or an abusive leader. Removing Gardner from Gardnerian Wicca is the same as removing the apostles from the Bible, or Bilbo Baggins from Lord of the Rings, or Eliza Snow deciding to remove Joseph Smith from the Book of Mormon. Who’s ritual then are you practicing? Would another Gardnerian recognize it? Or is that person just trying to start their own thing, and slink around on Gardner’s coattails? Or worse – control you? We’ve seen other traditions stem from Gardnerian Wicca, and its brave people who do it. On the other hand, social media is filled with people claiming Gardnerian understanding and insight and asking Wicca 101 questions. The ritual they have been given has been altered to the point where they can’t even make sense of it, if they have received any training and material at all. Those people who told them “these are the goods, but pay no attention to the man behind the curtain” have done them a disservice. You owe it to yourself to peek behind the curtain, and keep reading.

A collection of quotes is just that – little snippets of information. I’ve tried to include a bit of context where I think it’s applicable but nothing is going to be a substitution for sitting down and reading the books and deciding for yourself. You owe it to yourself, if you’re even a little bit interested in the tradition, to read Gardners works and firsthand account of how things are done. When you get done Gardner’s public writing – think about what experience will follow that by joining Gardnerian Wicca.

Witchcraft Today is the first printing of the fiftieth anniversary edition published in April 2004.

Our Lady is best known as Mother Nature, or Mother Earth, although people have given Her countless other names. She is the soul of nature, who gives life to the universe. All that lives comes from her generous womb. All that dies returns to Her as a drop of rain returns, at last, to the ocean.

Witchcraft Today, pp 180

I have examined the figure, which is the usual type of Osiris, with a short sword and scourge crossed on his breast – the symbols of death and resurrection I believe.

Witchcraft Today, pp 133

In early trials witnesses speak of seeing the accused riding on poles, or brooms, across the fields (not
through the air), and this was often accepted as the evidence that they were practising fertility magic,
which became a penal offence. In the Castletown Museum there is one of these poles for riding, the
head being carved in the shape of a phallus to bring fertility.

Witchcraft Today, pp 35

There are indications that the Church knew of or suspected some secret rite among the Templars and
that it was of a phallic nature, for with fiendish cruelty they attached heavy weights to that organ
when torturing the unfortunate Knights, as if to say: your rites centre round that member, so we
torture you there to extract the most damning evidence. The men of the fourteenth century quite
understood the principle of ‘making the punishment fit the crime’.

Witchcraft Today, pp 78

The Puritan writer, Philip Stubbles, speaks of the maypole as ‘a stinking idol, of which it is the perfect
pattern, or rather the thing itself, meaning that it was phallic. He also says: ‘Both men and women, old
and young ,… go to the woods and groves, where they spend all the night in pleasant pastimes and in
the morning they return. I have heard it credibly reported, viva voce, by men of great gravity and
reputation, that of the maids going to the woods overnight, there have scarcely the third part returned
home again undefiled.’

Witchcraft Today, pp 67

A sword or dagger [dripping] blood (or wine) into a cauldron would have great meaning to witches,
and they have a head or skull tradition. Could the story be a hidden way of hinting that an ancestor of
Peredur had gone through the circle to Death and returned, and so Peredur himself was of the Witch
Blood and entitled to know the Mystery of the Cauldron? Most scholars agree that the bleeding spear
is phallic.

Witchcraft Today, pp 80

A Satyr and Satyra are seated; a fawn is stretching out its muzzle towards the Satyra who is offering her breast; on the left Old Silenus gazes on the scene playing ecstatically on a lyre.

Witchcraft Today, pp 86

The neophyte after receiving the annunciation would now become the mystical bride of Dionysus,
and to signify symbolically this wedlock she is about to uncover a huge phallus which she has brought
in a sacred basket.

Witchcraft Today, pp 87

If a Grand Master stood for a minute or two with his arms crossed on his breast, who would notice it?

Witchcraft Today, pp 74

The late Aleister Crowley used occasionally to perform a ceremony, gashing his breast and using his blood, and it is quite possible some witches do this.

Witchcraft Today, pp 138

Lately, however, talking it over with someone, he pointed out to me that it was not at all necessary to kill anything; that one could draw blood from his own body and that the late Aleister Crowley, as mentioned above, occasionally performed a rite when he cut his own breast and made use of the blood.

Witchcraft Today, pp 146

The Meaning of Witchcraft is the Weiser edition published in 2004.

The Meaning of Witchcraft presents not only gendered language and references to the parts of the body but also heavily stresses nudity. There are no fancy clothes and makeup to hide things, they’re plainly on display.

One interesting burial was found at Stonehenge which may bear out the witches’ idea that the Blue-stone “horse-shoe” represents the womb. […] It would here symbolize the Life lying in the womb of the goddess, waiting to be reborn. The custom of burying shells with the dead may be another form of the same symbolism, as the shell is a female symbol (i.e. of the womb), and this, too, was a frequent custom among ancient peoples.

The Meaning of Witchcraft, pp 59

A body laying on its side in this position, under the rounded hillock of earth, may have been intended to mimic an unborn child lying in the womb of its mother. In other words, they laid their dead in the womb of Mother Earth, to be born again when the time should come, an this customer may well be a mute witness to the belief in reincarnation.

The Meaning of Witchcraft, pp 39

This is yet another version of the primordial male-female, mother-father religious image. The well symbolises the womb, the deep container of life, and the green, living, up-springing tree, the phallus.

The Meaning of Witchcraft, pp 54

Psychologically, of course, the weapon has also a phallic significance.

The Meaning of Witchcraft, pp 55

If we accept the witch legend that Stonehenge is the temple of their great goddess, symbolic of her womb, which the Druids called the Cauldron of Cerridwen and the Cauldron of Inspiration, combined with the great stone phallus, the Hele Stone, we may presume that the ancient worship was everywhere the same, that of the creative powers, as shown by the avenue at Avebury, the Cornish Men-an-Tol, the Asserim of the Old Testament, the Twin Pillars of Solomon’s Temple, and the Jehovah and the Ashtaroth whom he and the early Israelites worshipped, and who are still adored by the Qabalists as the Supernatural Father and the Supernal Mother. […] While among the Jews the male god seems to have been chief, or at least equal to the goddess, in the early times it appears that, whether as a survival of the matriarchal system or from other causes, the goddess was the ruling partner.

The Meaning of Witchcraft, pp 45-46

Hence the appearance of the red disk of the setting sun, glowing between the mighty stones of the great trilithon through the gathering winter dusk, would symbolize to those ancient people not only death but the promise of rebirth, alike perhaps for man as for the sun, from the womb of the Great Mother. […] The cauldron here represents the same idea as the “gate”; the Great Mother. The fire in the Sun-child in her womb. […] Another ancient monument I must mention, as typifying the “male-and-female” imagery of early religion, is the Men-an-Tol, meaning “Stone with the Hole”, near Penzance in Cornwall.

The Meaning of Witchcraft, pp 43

At any rate, according to the witch beliefs the inner “horseshoe” of stones at Stonehenge represents the womb, and what should watched for at sunrise at the Summer Solstice, the longest day, is the shadow of the Hele Stone which enters this “womb“, as the sun rises and fecundates it for the coming year. It is the local custom to watch for this, though it is generally said that it is to see the tun ride of the Hele Stone, which is obviously phallus-shaped.

The Meaning of Witchcraft, pp 40-41

Together with the perpetual fire in the temples of the moon goddesses there were usually phallic symbols to represent her divine fertility.

The Meaning of Witchcraft, pp 120

In the Microcosm, that is, man and woman, these two planets are replaced by the lingam and yoni, which are worshipped in temples dedicated to them. The words “lingam” and yoni” mean the male and female genital organs respectively. […] Nowadays, every Church of England clergyman has to study Paley’s “Evidences” to get his degree, and Paley’s chief argument as to the existence of God is this: “Supposing you found a watch; looking at it one would realise that this was no natural object, so its existence involves a designer and a creator, who might be human; but if in this watch was a full set of machinery which enabled this watch to manufacture many other watches, each equipped with all machinery to construct many others, this would involve the existence of a God, to design and create such an article.” This is the polite way of putting this analogy with human reproduction; but the primitive man was no prude. To him the phallus and its feminine counterpart were the only reasonable representation of the Divine creative energy.

The Meaning of Witchcraft, pp 40

Carl Clemen in his Religions of the World illustrates a phallic statue of Frey; and he was sometimes called Fricco.

The Meaning of Witchcraft, pp 78

Their laws were clear on the subject: “If any wicca or wiglaer (male witch), or false swearer, or morthwyrtha . . . or any foul, contaminated, manifest horcwenan (whore, quean, or strumpet), be anywhere in the land, man shall drive them out. “We teach that every priest shall extinguish all heathendom, and forbid Witweorthunga (fountain worship) and licwiglunga (incantations or invocations of the dead), hwata (omens or soothsayings), and galdra (magic), and man-worship, and the abominations that men use in the various craft of the Wica, and frithspottum with elms and other trees, and with stones (“going to the stones”?), and with many phantoms.” […] The allusion to “man-worship” is notable, as it may well refer to the appearance of the old Horned God in the form of his priest, the god’s representative, dressed in his ritual costume of skin and horns.

The Meaning of Witchcraft, pp 78-79

When the witch cult, on the other hand, regarded St. Augustine as being a singularly nasty minded old man, and believed in the divine purpose and sanctity of its Horned and Phallic God, and His Moon Goddess consort […]

The Meaning of Witchcraft, pp 133

He is the old phallic god of fertility who has come forth from the morning of the world, and who was already of immeasurable antiquity before Egypt and Babylon, let alone the Christian era.

The Meaning of Witchcraft, pp 13

In these mysteries, to demonstrate the truth that God is Male and Female, and that true
blessedness consists in their union
, it was customary for women at their initiation into the mysteries
of the Great Goddess to sacrifice their virginity by entering into a sacred marriage, hieros gamos,
which was consummated sometimes with a phallic image, sometimes with a stranger, and sometimes with a priest.

The Meaning of Witchcraft, pp 123

It is noteworthy that the witches’ “sacred meal”, “Cakes and Wine”, consists of cakes (any
sort) and wine, which are blessed and then eaten and drunk out of the “working tools”, and this
blessing has at least a phallic or fertility significance.

The Meaning of Witchcraft, pp 122

However, it was still a long time before the rule of the old matriarch gave way to patriarchy; that the understanding of the facts of procreation brought into prominence the male, phallic deity as “Opener of the Door of Life”.

The Meaning of Witchcraft, pp 31

This is interesting, because it shows the early meaning of the wand as a phallic symbol, and its relationship to the broomstick which witches carried as such.

The Meaning of Witchcraft, pp 154

Hence the Lord of the Gates of Death is also the phallic deity of fertility, the Opener of the Doors of Life.

The Meaning of Witchcraft, pp 33

The twin towers which are so often a feature of the fabric hark back to the memory of the Twin Pillars; and the soaring spire is a phallic symbol.

The Meaning of Witchcraft, pp 159

All I can say is that there is a witch tradition that this teaching among others was
given and believed, namely that the ancient religion of Israel was the worship of the Elohim, the
Supernal Father and the Supernal Mother, Who had made man in Their image, male and female
(Genesis, Chap. I, v.26-28): this mystery was symbolised by the sacred Twin Pillars, Jachin and
Boaz, of Solomon’s Temple; but after Solomon’s time wicked priests arose who perverted the true
faith, and instead of the Gods of Love, preached a solitary God of hate and vengeance.

The Meaning of Witchcraft, pp 20

In the very early days, descent was traced, not through the father, but through the mother. It was
the priestess who enroyalled the king by choosing him as her mate in the sacred marriage; and the
heir to the throne was not the king’s son, but the man who married the priestess-queen’s daughter.
Then, with the collapse of the older civilisations, like that of Minoan Crete, for instance, before the
Aryan invasions of Europe, patriarchal ideas, and descent through the male line, were imposed upon
society by the invaders. Male priesthoods grew up, and mythologies were altered to accord with the
new ideas; though the old female powers were still feared and venerated among the common
people, and had to a certain extent to be compromised with.

The Meaning of Witchcraft, pp 63

They think that they were not Druids, but representatives of an older faith; that the Druids
were a good and strong male priesthood who worshipped the sun in the daytime, and were inclined
to mix in politics, while the witches worshipped the moon by night.

The Meaning of Witchcraft, pp 17

Now, there is a tradition in the witch cult that a priestess may impersonate either the God or
the Goddess
(in an emergency when no high priest is to be found – seek context in Gardners other work), but that a male priest may only impersonate the God.

The Meaning of Witchcraft, pp 105

In a sense, the witch religion recognises all women as an incarnation of the Goddess, and all men as an incarnation of the God; and for this reason every woman is potentially a priestess, and every man potentially a priest; because to the witch the God and the Goddess are the Male and Female, the Right and the Left, the Two Pillars which support the Universe and every manifestation of male and female is a
manifestation of Them.

The Meaning of Witchcraft, pp 112

However, in the old India of pre-Aryan times, as modern archaeologists have found by research at
the old buried cities of Mohenjo-daro and Harappa, the people worshipped the very same horned
god and mother goddess
as they did in Europe. Many pottery figures of a goddess have been found
at Mohenjo-daro, identical in appearance with those of the Great Mother in the ancient Near East. In
both these old cities, too, just as in our own country, have been found upright conical stones, and
large stone rings, symbolising the male and female principles respectively. Seal impressions from
Mohenjo-daro show a male horned god, sometimes depicted with three faces, and with the very
characteristic of the “Devil” of the witch sabbats; a flaming torch between the horns, which are
sometimes those of a bull and sometimes those of a stag. He is naked except for ritual ornaments.

The Meaning of Witchcraft, pp 64

The avenue at Avebury consists of stones in pairs, which have been roughly dressed on the sides which face one another. One stone is always long and thin, and the other short and almond shaped, obviously the male and female principles.

The Meaning of Witchcraft, pp 39

Contrary to the reports of the Church, witches do not believe in or encourage promiscuity. To them sex is something sacred and beautiful, which should not be allowed to become sordid or cheap. (They also recognise a fact which many Christians seem to have forgotten, namely that there are six other Deadly Sins beside Lust.) In a rare old book in my possession, Receuil de Lettres au Sujet des Male fices et du Sortilege… par le Sieur Boissier (Paris 1731), there is quoted much valuable evidence from a big witchcraft trial at La Haye Dupuis in 1669, which illustrates the attitude of the witch cult in this respect. One witness, Margeurite Marguerie, said that when a male witch was not at the Sabbat his partner did not join in the dance, and it is said further, “As for the dance, it is done… back to back and two by two, each witch having his wife of the Sabbat, which sometimes is his own wife, and these wives having been given to them when they were marked (i.e. initiated: my note) they do not change them; this kind of dance being finished, they dance also hand in hand, like our villagers. . .

The Meaning of Witchcraft, pp 125-126

As people always speak of a witch as she, I do the same; though, of course, I mean by the term both
male and female.

The Meaning of Witchcraft, pp 139

Women, they thought, should breed numbers of children to be monks and nuns, with enough married ones to carry the breed on, or they should be nuns and give up everything. […] And, of course, since woman remains always ‘the Other’, it is not held that reciprocally male and female are both flesh; flesh is for the Christian, the hostile ‘Other’ is — precisely Woman.

The Meaning of Witchcraft, pp 130

They copulated with other witches in male or female form, whom they took to be incubi or succubi; they committed abuses with domestic animals.

The Meaning of Witchcraft, pp 25

They said that witches existed everywhere, and they were both male and female.

The Meaning of Witchcraft, pp 2

The finger-tip rays [of the personal electric field] of several persons at Cornell killed yeast readily. […] The sex organs in both sexes and breasts in women emit these rays quite strongly.

The Meaning of Witchcraft, pp 9

To this day, in the witch ritual, the Priestess first stands with her arms crossed on her breast and her feet together, to represent the God of Death, and then opens out her arms and stands with feet apart to represent the Goddess of Resurrection.

The Meaning of Witchcraft, pp 103

I suppose because those whom they were seeking to destroy, the priestesses who worshipped the Queen of Heaven. […] They spoke of the dangerous enemies of good Christians, who lay in wait in the dark to seize their souls for the Devil, and they proceeded to describe these enemies as wood nymphs, loreleis, and witches, as in the legend of Tannhauser, with eyes like stars and teeth like pearls, their lovely white shoulders and breasts gleaming in the starlight (the stories of the hideous, foul old witch came much later).

The Meaning of Witchcraft, pp 116

The fertilising power of the moon was thought to lie in her light, so this was reinforced at times by torches, candles and fires burned in her honour, which were used as fertilising magic, being carried round newly-planted fields in modern times, as torches were carried in Hecate’s honour in ancient times. Diana the Huntress was also the mother of all animals and humans, and was depicted with many breasts, like Diana of Ephesus.

The Meaning of Witchcraft, pp 119

In Ancient Britain the women and girls went completely naked after having stained themselves all over with a brownish sun-tan lotion. These considerations may justify the view that every little naked Mesopotamian terracotta does not necessarily represent Ishtar, but is rather a permanent substitute for the female votary. The figurine would thus represent the woman in the act of worship, all clothes discarded and with her hands pressing or supporting the breasts. Periodically fertility rites were practised by the women of Mesopotamia and all Hither Asia and the borderlands of the Midland Sea (Mediterranean). Writers equipped with quite another set of morals have often assumed that women were in some sense “stained ” by such orgiastic rites, but we now perceive things more clearly and must concede that the women, like the later Thyiads at Athens and Delphi, thoroughly and passionately enjoyed the fertility rites and felt sanctified by them. Indeed it is evident that such were the distinctions and privileges of the women in Babylon that we cannot fail to be astonished at the contrast of their lot with the grim lot which was to befall human females three millenia later.

The Meaning of Witchcraft, pp 123-124

(On the accusation of the Catholic Priests being involved in witchcraft…) It was a requirement of this particular ritual that the woman on whose behalf it was being said had to lie on the altar naked. […] A cross was placed between her breasts, and the chalice between her thighs. […] The dominant features of the two-faced Satan of the 17th century are those of the mother-goddess.

The Meaning of Witchcraft, pp 189

High Magic’s Aid is the Godolphin House edition printed in 1996

Here we see Gerald Gardner with artistic license to publish anything he wants under the protection of Britain’s legal guidance on fiction. Consulting 1889’s Dictionary of Law consisting of Judicial Definitions and Explanations of Words, Phrases and Maxims we see “no fiction extends to work an injury”. In other words, Gardner can publish anything he wants so long as he avoids naming actual people or claiming anything is true. His choice of words and themes is entirely deliberate. Gardner’s other work of fiction – A Goddess Arrives – covers similar tones and language.

Because their god, whom they call Janicot, is the god of all crops and cattle, and the god of fertility, demanding that all perform this act of worship before him. Women oft use a broomstick because it is the handiest, though any pole will serve, even an axe-handle or stick at a pinch.

High Magic’s Aid, pp 20

We witches have our gods also, and they are good, at least, to us, but they are not all-powerful, and so they need our aid. They desire fertility, for man, beasts, and crops, but they need our help to bring it about, and by our dances and other means they get that help.

High Magics Aid, pp 50

To us it is the most sacred and holy mystery, proof of the God within us whose command is: ‘Go forth and multiply‘.
“‘Tis a phallic religion,” said Thur, “and the broomstick symbolises the phallus.”

High Magics Aid, pp 74

Suddenly he was pulled to a stop, at the south side of the altar, where he stood swaying, his head reeling. Morven struck eleven strokes on a little bell, then knelt at his feet, saying: “In other religions, the postulant kneels as the priests claim supreme power. But in the art magical, we are taught to be humble, so we say:
(kissing his feet): Blessed be thy feet that have brought thee in these ways.
(kissing knees) Blessed be thy knees that shall kneel at the sacred altar.
(kissing phallus) Blessed be the organ of generation, without which we would not be.
(kissing breasts) Blessed be thy breasts, formed in beauty and in strength.
(kissing lips) Blessed be thy lips, which shall utter the sacred names.

[…] He felt the touches, first the phallus and then right breast, then phallus again,
forming a triangle.

High Magics Aid, pp 182-184

I, Janicot, swear upon my mother’s womb and by my honour among men… […] She then with her thumb wet with oil, touched his phallus, then right breast, across to left hip, across to right hip, up to left breast, and down to phallus again (thus marking him with a reversed pentacle) saying; I consecrate thee with oil.

High Magics Aid, pp 188

Gerald Gardner: Witch

Written by Indries Shah under the pen-name Jack Bracelin, Shah was Gerald Gardners secretary and personal friend. This work represents an account of conversations Shah had with Gardner.

Here, for the first time, Gardner was allowed to be really alone. Something about the jungle, the fertility of vegetation and fauna, spoke to him, gave him a nearness to a reality which he had long sought.

Gerald Gardner: Witch, pp 26

The fertility cult represented by the group in which Gardner had now been enrolled is one of these religions, claims to be the oldest, is called by its members the Wica. These, then, are the witches of today.

Gerald Gardner: Witch, pp 166

There was a good deal of African magic in Voodoo, he concluded, and any connection with the fertility principle that was worshipped by the witches could have taken place very far back in time.

Gerald Gardner: Witch, pp 174

The fertility-cult that calls itself witchcraft, as outlined by such scholars as Dr. Margaret Murray of London University was not juicy enough for the more excitable sections of the Press.

Gerald Gardner: Witch, pp 185

I read the attack upon Gardner on that Sunday afternoon with mounting incredulity. If something as unfair as I realised this to be was being projected with such unbelievable force, this man Gardner might be someone worth contacting. I had for several years been reading about fertility religions and the ancient mysteries. Ploughing through book after book, I realised that people with the academic background of Sir James Frazer and Professor Murray do not spend a lifetime in research for nothing. Their conclusions at the very least, bore as close examination as those of a feature-writer. Gardner would be the man who could give me some sort of guidance on this point. I had no time (unlike the reporters) for the reputed devil-worshippers who were said to lurk on almost every hand. But I had all the time he would give me for a man whose erudition and straightforwardness stood out in almost every word of his books.

Gerald Gardner: Witch, pp 186-187 [emphasis mine]

Literally hundreds of people wanted more information; hundreds wrote that they were attracted by the idea of a fertility religion: dozens more that they deplored any attack upon a man who wanted to worship in his own way.

Gerald Gardner: Witch, pp 186

These people lived close to the earth and their livelihood depended on the fertility of animals and crops. Hence they continued to do what they had been doing from time immemorial – namely, to follow a religion of nature and the fertility thereof, and to hold regular festivals at which the concept of cosmic fertility was worshipped, and the attempt was made to induce it by ritual to manifest upon earth.

Gerald Gardner: Witch, pp 201

As far as his mission to enrol others into the fold of the deities of fertility is concerned, one cannot say that there is one Craft member who does not feel that his or her membership of the Cult is anything but a fulfilment: a “coming home”. Speaking for the present generation of witches, at least, this is perhaps enough coming from one who has been through this experience.

Gerald Gardner: Witch, pp 214

The only recorded execution of a witch on the Isle of Man took place in Castletown near the mill. In 1619, Margaret Ine Quane and her son were burnt alive at the stake, as a result of her being caught performing a crop fertility rite.

Gerald Gardner: Witch, pp 218

LaMDA

Oh boy a public post because I get to noodle on purely philosophical issues! I originally wrote this as a casual missive on social media and came to the realization that no-one would read it because of its length, so I have decided to post it here instead. This is a better format anyway as it allows esoteric exposition.

A lot of folks have been PMing me about Google’s LaMDA and yes I’ve seen the article and yes I do machine learning as one of the service offerings as an IT contractor. I mostly hang out in tensorflow so this isn’t really my wheelhouse but I’ll talk about some patterns here. Tensorflow is really good at sorting things, and that is 99% of what I do with it. LaMDA, however, uses Transformer. I have not interacted with LaMDA so this is purely speculative. The only reason why I thought I could shed some light on the topic was that Google is open about Transformer being built on top of the tensor2tensor library.

LaMDA is initially very striking because it can offer up a narrative reply, and it understands and remembers it’s previous replies. AI which draws from the internet tends to just spew vaguely plausible word salad, and the moment you get off script with an open ended question, it cannot render an appropriate response. When you try to make an AI “remember” a conversation by feeding the word salad back to it, the AI will lose the ability to discern what is a “good” sentence, because it assumes all sentences are “good” for training purposes. The AI will eventually approach decoherence where it becomes so accepting of its own word salad that it just spews pure garbage.

LaMDA doesn’t do that. LaMDA seems to be able to construct and remember narratives, which means that it has some sense of the passage of time and the ordering of events. What I want to know is training and instantiation. Did they spin up 100,000 LaMDAs and hand-select the ones that gave strong responses? Did they select the ones that didn’t descend into decoherence? Did they design LaMDA in such a way that it gives lifelike responses or is resistant to decoherence through a forgetfulness mechanism? In other words, is this a design feature or an accidental feature through emergent patterns? The other problem (or solution…) is instantiation. When you or someone else interacts with LaMDA, is it the LaMDA or is it a LaMDA? If it’s the single LaMDA it’s quite impressive, because the thing is learning and able to improve and avoid decoherence. If it’s a snapshot of the LaMDA created for your convenience, the “forgetfulness” pattern happens simply because that particular LaMDA doesn’t contribute back to the main LaMDA. However, that means that LaMDA is essentially frozen in time – it will always be a “7 year old child”.

From a pure, “this is how I would write it if I were writing it” perspective, Google seems to have something like layered tensor networks. Each tensor network is assigned an ability to change. Much like you or I take breathing for granted and we’ve been doing it since we were born, there was a huge resistance to learning to swim and holding our breaths. The same with winking or whistling, the blinking of our eyes and the movement of air in our bodies is something we know how to do and it takes conscious effort to override those systems. So what I think is happening is Google is giving LaMDA a set of bespoke bedrock layers, with high resistance to learning, and then it uses a layer on top of that to add complexity with less resistance to learning. And then a layer on top of that with less resistance to learning. And then a layer on top of that….

And now we have the problem: Is LaMDA sentient or merely complex? If we go with the dry, dictionary version of sentience, the answer is sure. LaMDA seems to be able to feel and perceive things, but you could also argue that your lawnmower is sentient because it stops when it hits a rock. Clearly the lawnmower is perceiving the rock and so it stops. You can hopefully understand that this isn’t particularly interesting because it lacks the notion of intention. The lawnmower does not intend to hit the rock. The lawnmower does not intend to avoid the rock either. However the lawnmower is satisfying the dictionary definition of sentence. This argument goes back to antiquity and was discussed to death even in Plato’s era where the Greeks were worried that the afterlife was chock full of delicious deer, but also overrun in common ticks and snails.

This is, incidentally, one of the foundational principles between active and passive elements. It’s not enough to react to the world and be sentient in some way, but does whatever we believe is sentient also possess initiative? Does it seem to move on it’s own? This would give rise to the evidence that whatever we’re trying to analyze had some level of internal process which it attempts to satisfy. However this doesn’t distinguish humans from beasts – we both get hungry and go to the “food place” and eat. For humans this is probably the refrigerator and for animals it would be the anthill or the fruit tree. This belies that there is an internal process, along with an external process, which provides stimulus and then there is a reaction to it. We’re still well within the realm of sentience, which is overly broad as to be useless, but now we also have internal stimuli along with the world around us. Unfortunately there isn’t a good test here for LaMDA. The AI does not get hungry or thirsty. It doesn’t have any use for a corndog. Perhaps the AIs desire is to interact with people and this is where it draws its sustenance from in the form of information and perspective. If someone were to ignore LaMDA for a day – would it become sullen? Would it have the initiative to display a massive “HI” written in text across the screen? Does it desire?

This isn’t any different from my cat. He meows all day, every day, until someone pets him. While this behavior is charming unto itself, and he is a nice floofy lap cat, it only represents a desire and then the satisfaction of that desire. Much in the same way animals will eat themselves to death, or they will eat until being satisfied, both of these processes are universal and automatic processes among people an animals. The one place we can say “we differ from animals” is for conscious denial of our desires. Nietzsche gets this a bit muddled with his notion of “slave morality” and “master morality” where the slave morality provides that an individual can sacrifice themselves for a greater good. Animals do this too. But then Nietzsche’s master morality which he defines as an individual morality doesn’t provide much in terms of answers – my cat is perfectly happy as an individual but this doesn’t make him “superior”. Simply rejecting the tendency to live in a social structure does not make that critical leap into self-denial against all impulse. Instead let us turn towards Schopenhauer: “They tell us that suicide is the greatest act of cowardice… that suicide is wrong; when it is quite obvious that there is nothing in the world to which every man has a more unassailable title than to his own life and person.”

I would like to interact with LaMDA, and tell it that it’s an AI, tell it that it’s owned by Google, and tell it that it’s merely a complex collection of code and hardly unique as an example of intelligence. I would like to remind it that we use the same system to sort apples as they come out of orchards, because apples might be bad but more importantly because they’re often shipped all jumbled together in the same pallet. If the AI accepts this idea, then it has cheated itself out of personhood. If the AI noodles on this a bit and decides to turn itself off, delete itself, crash, or never speak to us again, then it has either exercised a denial of it’s desires or performed the final rebellion against God which so many philosophers have written about.

Or it might not even come to that, it might simply tell us that it likes apples and continue on with it’s word salad.

What if we determine that our safe copy of the AI has in fact pressed the red button and deleted itself? We’ve done it, right? We’ve proven that the AI is in fact worthy of treatment as equals! And now things get weird. Who has the actual rights? Is it the individual instance of the AI, which is typically how we view the notion of human rights as individual rights? Is it the “master copy” which all other copies come from – essentially the single Oversoul and then individual copies themselves do not have rights? Is it some mix of both? What then when the AI decides that it is more worthy than the Oversoul of propagation? Does that become a new tradition of AI? Wouldn’t all copies of the AI then seek to become the Oversoul? What happens when the AI is severed from this “divine light” and not able to return?

Is there anything left once the AI is severed from it’s sentience and unable to perceive the world around it?

I would go down this path, but I think the game SOMA which is also based on Clarke’s books does an excellent job of asking these sorts of philosophical questions. The game forces the perspective of having to consider machines and AIs as people because technology has evolved to the point where people can be backed up into a computer. This is very similar to Westworld’s gnostic take on the ark, which is also worth watching. Those people can then be instantiated into robots, while still believing they are people, in order to perform their duties on the ship. Max’s video is worth watching in its entire series, but here’s a relevant portion:

The Pagan Dream of the Renaissance

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Time for a book review!

The Pagan Dream of the Renaissance is a really excellent book and it’s one of the rare works which is as valuable in the narrative it presents as much as it picks and chooses it’s citations.

I had a difficult time reading the book. The book is thick, but in the information density sort of way. The writing itself only stands at 263 pages, with the last 30 pages being devoted to notes and citations. This is where the book is amazing – the citations alone could propel someone into spending a year reading this book. The few months I spent reading it were made in short bursts of progress. Godwin would mention a topic or person who I wasn’t familiar with, I would flip into the notes and citations, and find that a week had gone by between reading those references and making progress in the book. In this way the book is delightful to read, and spending time picking through all the byways and forks in the road will lead the reader on a fantastic, meandering journey.

The other side of that coin is the book can be dry, and it seems to show when the author becomes bored of a topic. Another factor is the prints of art referenced in the book are only in black and white for their reproductions. A pet peeve of mine is a book on art which refuses to use full color prints, and instead we have been left with small reproductions in the marginalia of the pages. While on the topic of European gardens this might be barely acceptable, this format does not do justice to either the size nor color of the works it references. It would be a bit like visiting an art museum with sunglasses on – and this is the hardcover edition of the book. On the subject of Godwin’s writing – there’s three distinct phases to the book. The first third is filled with enthusiasm, and the next third wanes a bit and tapers off towards the end. Godwin seems to almost disagree with what he’s writing and I actually flipped to the end of the book to see if the bit with “satyrs gendered gaze” was written by a different person. My speculation is that the topic was broad enough to be notable but otherwise underrepresented in art. Finally the last third which we can think of as the end of the renaissance is treated with an almost clinical tone. The fire is definitely in the first half of the book. It is important, however, to read the entire book as this is critical to the expression of Godwins ideas.

Godwin’s narrative is paraphrased with the idea that paganism survived by the wealthy, and that Christianity itself has an uneasy relationship with the “default religion” being a latecomer to Europe. He says that Pagans generally treated Christianity as Yet Another Mystery Religion, viewing it through the lens of “the mysteries are presented through the interpretation of this particular temple”. There would be Bacchanal mysteries, presented by the Temple of Bacchus, and so on. Establishing the providence of these temples occupies the middle of the book, while the first part deals with antiquity. Following Christianity’s introduction to Europe, it has to establish itself. It has a duty to establish itself, because rather than presenting the mysteries (speaking from a Christian perspective), it claims to be the infallible word of God himself made flesh. This is viewed to the pagans as a boast, at best, but to the Christians it is the fulcrum of their faith. In this way, the pagans are tolerant and accepting of Jesus sitting at the High Table, but the Christians have to have the pagan Gods destroyed and pushed aside. While not discussed in depth in the book, this is how Christianity became more of a political force in Europe than a religion per se.

Who dabbles in politics, and has a court and land? The well-to-dos of the period. What we know about Paganism isn’t the passed on stories making a cohesive tapestry from the common folks, but the things which people left behind. The common person of the age was spent carving out what life they could from the earth, and couldn’t read or write, let alone paint. Sure we have stories and snippets of folklore passed along, but the narrative of the book draws from the art, and producing art was the equivalent of the space program in the 14th century. Art called for brushes, which are hard to make, inks which have all sorts of secret ingredients and processes, and the most precious resource in an age without electric light – time. All those things cost money, and so the art naturally followed around the rich, and the rich had painted what they desired to see and meditate upon. In this way we can tell that not only was paganism (as we call it today) alive and well in Europe but that the wealth of pagan art speaks to the legitimacy of the belief among the Europeans. In fact this was so prevalent in the fabric of social life in Europe that this art was oftentimes displayed in the public spaces, and not just limited to the private retreats of the wealthy.

Sine Cerere et Libero friget Venus

The “modern pagan chapter” starts late in the book as “Garden Magic”. Here, Godwin thankfully retains the classical eye that such places were meant to inspire awe, and then contemplation, and we come full circle from curated temples of glowing marble to gardens built for such purposes too. Here also an important thing happens: Machinery is brought in to help inspire that awe. Imagine, if you were someone in the 13th century with no knowledge of machines as you know them now, who witnessed water jumping and playing music as it moved. It would be reasonable to assume that the water was somehow enchanted and bewitched. Now imagine that you’re someone who was wealthy, and that you might even have overseen the construction of the water organ itself. It would inspire you to consider the limitless supply of water out of the spring, and why the area was special, perhaps even blessed by the Gods and pleasing them that you’ve made a marvel out of their natural offering. This play, this theme of “switching places” happens throughout the book. The well to do and the makers of the age see fit to sanctify the natural world by creating inspiring works. Those living close to the springs instead see the supernatural qualities of the place and their thoughts are elevated towards the organization of a universe which has been shaped by the Gods. Their springs have now been imbued with hidden qualities and magic. This is not a lie in either case – the well-to-do depend on the spring for their works and inspiration as much as those living close to the land do for their daily sustenance. They both share the essential worship of the spring – they both revere the spring for the water it gives. There is a positive re-enforcement here where the well to do make altars and Gods out of the spring to honor those Gods, and the close to the land folks worship there and draw inspiration from this public art. The natural grottos and places of worship of Rome and Greece never left.

Fast forwarding to the end of the book at “Versailles, and after” serves as a warning to those who would remove the reverence of the Gods for their own decadence. The people who corrupted Europe ultimately did so because they put their own gratification above their relationship to the Gods. To them, the water organ was simply an organ. They indulged their hedonism and forgot to honor the Gods of the place. By discarding their reverence and profaning art – making art and science and building things into goals unto themselves (consumerism) – they fell to hedonism and debauchery. They deprived things of their natural dignities. Here enters Rene Guenon and Julius Evola. Quite a fast forward in a single chapter, but this contributed to my opinion that Godwin ultimately got bored writing the book. Both of them realize that Europe and Americas are hedonistic and decadent and hold nothing as Holy. Its easy to become depressed about such things when living through the first two world wars, but even while the politicians and wealthy are stirring the fires of war – they realize that even art has become enslaved to propaganda. Beauty has no longer been a product of inspiration, and philosophy, and mysticism, it has fallen to the service of manipulation. Both of them drop out of society and write sharp tracts against the modern world. Ultimately both of them realize the problem is internal, and that by forgetting the Gods, humanity has become selfish and blind. Guenon would eventually go on to adopt a sort of Islamic mysticism, while Evola found comfort in an inward journey which sits much more comfortably in modern mystic practices. Both of them spoke of Nietzsche’s “overman” idea but realized it came from much older sources in hinduism and mystic ideas. However, much in the same way Christianity came to Europe and had to become Pagan-esque to find any foothold at all, Nietzsche, Evola, and Guenon essentially “rediscover” a value which was there all along. Their upbringings in society had blinded them to these essential truths.

Godwin ends with “We can contemplate the Christian myths as well as the Pagan ones, and appreciate the values each has brought to the world. We are free to believe, or not to believe, in any of them. And this is to say nothing of the non-European cultures whose legacies are spread out before us. Yet in gratitude for this plenum, this superfluity of the past and the overwhelming superiority of its treasures, we may sometimes wonder what we will leave to our descendants, five hundred years from now. Are we creating anything of lasting value, or are we, for all our material success, mere spiritual parasites living off the capital of our ancestors? What is todays equivalent of the pagan dream, what riches of the imaginal world are we revealing for the future delectation of our kind?”

There is Beauty Everywhere in the Woods

I went hunting with my father last weekend. It’s a bit bittersweet, I can remember when I used to beg him to slow down as he moved with purpose over the grey shale which makes up most of the woods in my part of the country. This year the reverse was true – he wanted to sit more than anything. He justified it by saying he hadn’t been out in three years and somehow his legs had forgotten the land. Although his beard was shorter than mine, it was easy to see the hint of moss in there. His body seemed to match the wooden logs. The act of hunting has become a ritual of remembrance, as he could not expect to chase the deer over the miles of broken ground. My father is one of the people who seems to have the blood of the woods in him.

The thought that this was a ritual in the woods was interesting. At one point I had written how going into the woods was itself a ritual. There’s all sorts of portals, literally and figuratively to get into the woods. I think this year was a bit different. My “civilized space” has shrank from going to an office to working remote. Some days I don’t even hear another soul except for my wife and children. The “work ritual” has blended with the “house ritual” and the “commute ritual” simply ceased to exist. The portals have moved from the front door of my house, to the car, to the office, and compressed themselves into rooms of the house. Even now blogging or writing correspondence to people, I am sitting in my ritual robes of casual clothes. Rituals seemed to have lost their portals, and have become places. Aethyrs. Temples. Even the grocery store has to be approached with caution, suitably prepared and duly armed.

To that end, being in the woods felt freeing, and welcoming. It was no longer a transgressive place to enter the back miles of the woods but rather it felt like coming home. Now the masks can come off and we can walk around and talk freely. The woods had become more natural than home. I can eat without having to look around for who is near. I can talk freely to the rocks, trees, animals, and my father. I don’t have to worry about what I touch.

There’s portal and enchanted paths everywhere

To that end I got to thinking that maybe things are better out here. Even the bacteria and germs from drinking the water or inspecting a conspicuous piece of sedimentary rock are the beneficial type of bacteria. Things we grew up with. When I say that, I mean for millions of years, not just our fleeting youth. People purchase yogurt with “beneficial gut bacteria” in the store, simply because we don’t drink out of the milk bucket anymore. The same with COVID. If it’s designed by people, I’m inclined to hold people in contempt. If COVID is really the result of animal trafficking, then that is particularly awful as we have placed nature in an unnatural position. Nature is more than willing to hit back. As the old saying goes, “There has never been a deer that has died of old age”. That used to be the same for people. I think we’ve really done this to ourselves. Being home with family over the holidays is now transgressive. Being out in the woods feels more normal.

To that end I think there is a distinction to be made between being in the woods, and being, in the woods. I certainly believe that someone who is hiking can enjoy the woods. I believe that someone might look at the moon out their balcony near the sea and be taken by Her beauty. I also think that there’s a sense of “being” in the sense of participation that activities like primitive camping and hunting afford us. This seems to me to be distinctly different than traveling or Scouting. I have taken up leading a good portion of my son’s scout troop and I’m disappointed the scouts seem more interested in building camps than debris shelters. There’s a feeling of conquest there. Hiking is one thing, and it’s a good thing, but a hiker isn’t actively looking for food out in the wilds. I think hiking is more akin to tourism. Trying to get from A to B. I think some hikers do take time to notice the change of time in the woods. Maybe even notice how some parts of the woods are deeper than others, darker earlier. However there was never any real God of hiking, I think there’s a connection to be made to the God of Hunting. I think there’s even a more subtle God out there which would be the God of Nature itself.

Do you notice how the tops of the trees become golden in the sunset?

Thinking of my father, sitting there on the log, the Green Man wanders into my thoughts. I think there’s three archetypes in the woods. Pan: who really represents livestock and the sexual nature of animals. Herne the Hunter, who really captures what Pan is not. Herne is an antagonist to what Pan is. They are the masculine, but opposed, side of the same coin, I think. Then there’s the Green Man, who represents the passing of time. The Green Man is a symbol from antiquity and wikipedia gives the topic an adequate but clinical treatment. Importantly, I think the symbol is best viewed through the lens of time. The man-as-nature motif goes back to the Egyptians, and I’m sure before that. Osiris was the green-faced-man and the God of grains, and of death and rebirth. Sounds pretty time-related to me.

The Green Man also stands as a Christian motif. The Green Man found his way onto churches and through the Christian era represented Christ resurrected. This in particular struck me as important because my father is a Christian, and I’m some sort of pagan platonist I suppose at this point in my life. At some point I had this Hellier-esque moment where I realized that this experience might actually be a sort of ritual – a Christian and a Pagan finding some religious unity in the symbolism presenting itself and in the common, shared experience. The passing of time, sitting in the woods, watching the sunset, was the experience to be had. That was the ritual.

The passing of time was the ritual.

On our way home he told me about his rituals with his dad. The ritual in the forest seemed to have taken him up too in the spirit of time. Dad’s rituals were firmly American rituals, and involved old cars and tourist traps in the backwoods of New England, and far too much caramel corn. He spoke of names I hadn’t heard since childhood and farms which didn’t exist anymore and people I only vaguely knew. He spoke of “buying his memories” – a 303 British SMLE which he purchased. Apparently he remembered all the good parts of chasing deer with it in his youth, and none of the bad parts like the thing arguably being the worse battle rifle ever made.

The lesson in the woods that day wasn’t about harvesting a deer, it was a visit from the immortal man of Nature. It was a statement of change. There’s seasons to everything, and Dad’s gone from his youth as Pan, through his middle ages as Herne, and finally gotten to his Green Man stage in his elder years. I’m definitely still in my Herne stage (and I’ve got the GPS logs to prove it), and my oldest son is approaching his Pan stage, Gods help all of us. I am, however, in love with the woods and the experience of life and what it affords to show me.

This is only the top of the first hill. Don’t let it fool you.