the doG mAn
Category Archives: occult
figures of speech in D minor
organize the snakes
pluck strings
divide the wave to the pedal point
a step, a diesis, a key signature
target a center
ignition
arrow
bow lyre
fabulist
the dirty gods
she had a nice base
associative process with dials from point to point
seamlessly one to the other
and then Sigmund Freud’s rings
hello
utterance
udder rants
a scale rave
turning things into words
a jewelers hammer
striking the strings
kinetic parenthesis circle intersection
drawing back waxing
links undone wading
octaves and moonlight
the face on a corpuscule
Saint Teresa melts the robot
into a full bodied universe
written by © Mitchell Pluto October 3, 2021
Alkalizing the Wendigo with a Whirling Mantra
Every culture has experienced cannibalism, headhunting and parasites. This intrusive painting is about those things but thankfully it’s all metaphorical. In this painting I use figures of speech to convey malignant narcissism and greedy tendencies as a psychic virus. While no specific group or person is targeted it is important to be aware of the dangers of being egocentric and that it puts everybody at risk.
An ancient parasite has been interfering with our optimum self moderating programing since the beginning of time. This is not an original idea and can be found as a theme through many Science fiction and horror stories. One specific example is The Mind Parasites by Colin Wilson worth checking out. However there are more real life examples. I found details in Sigmund Freud’s Totem and Taboo: Resemblances Between the Mental Lives of Savages and Neurotics that offered a general outline on taboo as a psychic contagion.
Anyone who has violated a taboo becomes taboo himself because he possesses the dangerous quality of tempting others to follow his example: why should he be allowed to do what is forbidden to others? Thus he is truly contagious in that every example encourages imitation, and for that reason he himself must be shunned.
Freuds statement makes me think of the origin of the scapegoat and the spiritual cleanse that shares a polarity with transgressions of the community. An organized ritual allows a contamination of an object to later be sacrificed.
How did the Wendigo archetype institute and set in motion such a horrible malware on the consciousness of humanity?
First and foremost the Wendigo represents a defense against becoming selfish. An example not to follow. It is no one’s ambition to become cannibalistic or maladaptive but abrupt experience overwhelms an unactualized mind. This is usually caused by trauma experience. An experience by all accounts that leaves a brain feeling abandoned. With no one else around to understand. While left defenseless against the brains own intense fear, a sudden disconnection occurs.
By looking in a mirror day after day one moves more progressively towards a reduplicative hallucination. An elaborate state where one see themselves as an apparition. This double tells the vulnerable self a story about how much stronger and more valuable it is than the other. it tells the other self it is the reflection that is important. Across this imbalanced relationship the double forever feeds off of one traumatic moment. As a kind of psychic parasitic disease, the reflection commandeers the entire body while holding the suffering self hostage. This painful body tries to fight but not being fully rehabilitated to control it’s own operations, instead seeks to control other brains.
Robert A. Brightman an American anthropologist describes the Wendigo as
“The wendigo (/ˈwɛndɪɡoʊ/)(also wetiko) Ojibwa wintikö. Cree wihtiköw is a mythological man-eating creature or evil spirit from the folklore of the First Nations Algonquian tribes based in the northern forests of Nova Scotia, the East Coast of Canada, and Great Lakes Region of Canada and the United States. The wendigo is described as a monster with some characteristics of a human or as a spirit who has possessed a human being and made them become monstrous. Its influence is said to invoke acts of murder, insatiable greed, cannibalism and the cultural taboos against such behaviors”
From Brightman’s statement we get a profile of a very unrelenting and maladaptive personality who is controlled by a psychotic spirit whose strategy relates to a person in the same parasitic mode a protozoa relates to a host. There is an invisible influence.
At the very top of my painting is an example of the Woodland Style. Inside the face is a very filtered cosmogram that offers a limited preview of a Peyote ceremony I was invited too. I choose the Bidu and moon cipher to act on behalf of an meaningful experience. The full night ceremony continues to make a deep impression on me. This impression is similar to my discussion in Astrology and Cosmograms . I review the root Loa as comparable to a strong radio signal filled with intelligent information and the brain as land-based radio station. In the painting this Loa voice scrolls from the lips to a wireless phone. This sudden illumination is delivered by a lightening bolt brightening a picture tube with a whirling log message. The subliminal effects directly communicates with the Mooladhara Chakra, the chair where the Kundalini sits. At it’s immature stage the Mooladhara is completely egotistical, security driven and possessive. These traits when pressed by scarcity and megalomania create a Wendigo.
scyphomancy with a touch of therianthropy
Written on September 18, 2021 by ©Mitchell Pluto
the cup reflected by the Pisces moon
was the rim where I sip
the moon’s abundant helium
my feet floated
I followed my paws
to the oracle
who spoke beyond the clover
who lifted
all periods
decimal points
conveying a flood of onomatopoeia
what?
the lost spring of language
synesthesia
a con jury
empowering the lines of the triangle
balance and beauty
I am a mind
not alone
a prism between two women
one fire
the other
a ray of light
three points passionately
sustaining
a stream of charged particles
warmth, love and vision
a charged link
lighter to lightest triangles
only the weight
my face
looking outside the mouth
of an ego
is a name with teeth
eating time in front of me
making a fence everywhere I stepped
with a plan to
organize all tree’s into things
I burn as brightly as
the interior of some hidden structure
that lives in the sun
and do not know that part
leaving a trail of items
in a landfill
the oracle whispered
in my ear
pollen and a gentle breeze
cottonwood seeds
overlay
a turquoise sky
we were inside
each other
ornamental patterns
hand, claw, fin, hoof, wing, tentacle
what we saw together
with the omnivoyant eye
Voice scroll of the arctechnician and the angel of time
written on September 17, 2021 © Mitchell Pluto
my cursive thought
wrapped around
some thing
joined together
possession
and
loss
i stood it still
to review
a snake sliding on a scale
tipping an X to a teetering cross
each letter a whirling dreidel
a little dervish
a
retrojection to every tense
then from now too
a serpentine door way
between the rippling pillars
unites me with my temporal lobes
temple fuses
a religion of selves being one another
a seizure
spattered wings
brush strokes
drifting leaves
fins
curves from flowers
quenched by snow stars
a hoop dancer is behind every shape
while marrow carries iron
memories transports us to dreams
restored
but then
returned
too a mind stream
equaling parallel to
is
i with a wave
a twin two
a point
on a pen
moving
Voice scroll of the arctechnician
written on September 17, 2021 © Mitchell Pluto
my cursive thought
wrapped around
some thing
joined together
possession
and
loss
i stood it still
to review
a snake sliding on a scale
tipping an X to a teetering cross
each letter a whirling dreidel
a little dervish
a
retrojection to every tense
then from now too
a serpentine door way
between the rippling pillars
unites me with my temporal lobes
temple fuses
a religion of selves being one another
a seizure
spattered wings
brush strokes
drifting leaves
fins
curves from flowers
quenched by snow stars
a hoop dancer is behind every shape
while marrow carries iron
memories transports us to dreams
restored
but then
returned
too a mind stream
equaling parallel to
is
i with a wave
a twin two
a point
on a pen
moving
Why I’m Interested in Voodoo
The Crossroads, a cosmogram that encourages foresight and safe travel. a study of the vèvè.
12inx12in acrylic, chalk paint and collage
Written by Mitchell Pluto© May, 28, 2021
In Milo Rigaud’s Secrets of Voodoo he describes the les lois ‘the laws’ as intermediaries between human beings and the cosmic source. These unseen constitutional agents are waves known as Loas who superintend the pattern of the world. During ritual and geometric drumming initiates tune into a loa and a transmission ‘mounts’ a recipient, known as ‘cheval’ which means horse. From the outside the person is possessed or entranced-from the word entrance. Similar to an artist being a cheval ridden by inspiration (in spirit). The psychic transit arrives, stays and expires while vertical lines are cross bounded by horizontal lines producing a square (or diamond) that channels (even generates) cosmic awareness into a personal experience.
The psychic map contained within the veve’s is a cross road of any place, it is also at the same time a quantum world of everywhere. I do not practice Voodoo or any religion in a traditional process. What I notice about active practitioners in Voodoo is trance states and a deep relationship with inspiration.
Excessive emphasis on power points and direction makes space magical and useful. Realistically on a mundane level, lines retain power in structure, a sentence of words or even numbers counting paced events on a clock. The Veves in voodoo reflect such effects as points and lines being the living representation of a spirit who is a geometric being. This is not unlike other cosmograms using geometry, including the Sri Yantra, Kolams and Navajo sand painting to mention a few.
Health, abundance, growth and love are all recognized universally as good and beneficial directions for the best outcomes. Positive end results, efficiency, a management of temporal lobe quakes and a thriving neural network are in accordance to the patterns of Loas. It cannot be argued maintaining this pattern is essential to balance and living well. Magic’s best purpose is healing and restoring the incomplete.
Points and lines (or particles and waves) will appear serpentine. The serpent is an expression of a time tense, a movement of a day and night in space. Only a focusing meditating point can open an omnivoyant eye in the center square (or center diamond). Veve’s along with the crafted tiles made by Islamic artisans have fixed these particles and waves in a suspended state for us to study the hidden qualities of an interior state. In my limited personal experience spirits look more like unfolding flowers without interruption, then they look like replicas of people.
I intentionally borrow from authentic beliefs. I mimetically blend ideas together. My intention is not to marginalize the value of traditional Voodoo
Ossification of the Moon Oracle
Ossification of the Seven Horn Oracle. 18inx24in recycled art work into collage. Based on Sefkhet-Abwy
written by Mitchell Pluto© February 28, 2021
Painting is a séance with one’s self, it’s a mediumship that dowses for pathways in the collective unconsciousness. All my writing is speculation, observational study and a visualization exercise in words.
Sefkhet-Abwy is Djehuty’s counterpart. Djehuty being commonly referred to by the Greek name Thoth, the ibis headed or beaker moon god. It is unclear how Sefkhet-Abwy fits in the triangularly with Ma’at, who is Djehuty’s actual wife but this is how it is recorded c. 3150 – c. 2613 BCE. Regardless both Djehuty and Sefkhet-Abwy were responsible for weight and measure. It is paramount to notice a woman as an accountant for the passing days. The proof being menstruation is based on a cycle.
I found Sefkhet-Abwy was also called the Mistress of the House of Architects. This would be noteworthy to understand and explore metaphorically. Symbolically Sefkhet-Abwy’s use of a cord functioned umbilically to connect sacred alignments while surveying land. This cord was knotted to create a measuring rope used in the Stretching the Cord ceremony. Part of the ceremony was finding a square in space.
There is so much to write about the meaning of the Stretching the Cord ceremony but I’ll reserve it. I recommend the reader look more into these things. The compass rose, geometry and even ornithomancy as flight patterns become more meaningful.
The name Sefkhet-Abwy which means either seven-horned or Safekh-Aubi she who wears horns, horns being plural without specific number. Relying on the reliefs, there are seven horns and a long horn creating eight. There is also an arch U-shaped indentation that encases the bone star design
The bovine horn (antler) theme and the bow can easily flow into the crescent moon symbol, both for agriculture and hunting purposes. There is also a leopard skin worn by Sefkhet-Abwy that represents the universal sky with the spots being points. If we travel 3,057 miles east from Egypt (on land) we can find the Hindu deity, Shiva who also has a moon crescent on his forehead and leopard skin. Shiva hangs out with cattle too
Maybe the gravity of the moon and earth help influence the framework of collagen and calcium phosphate. My impression of the horns led me to believe the ossification of cattle horns may have had some kind of relationship with the eight phases of the moon.
Astrology and Cosmograms
The painting called The Geomantic Knight considers the mystical qualities of Chess, Ley lines and Planets as radio waves
The moon is a well spring of inspiration in my life. We watch each other grow. I can see the rhythm through eight phases. This is enough to make me believe the moon is an oracle.
The first detail features the knight on the chess board as a kinetic right angle. Multiple views of potential moves reveal a propelling Whirling log symbol that lifts the center point of a square into a pyramid.
This facet embodies man as sharing a autoscopic experience with an animal self. The body becomes a map. A place where the legend holds the keys as conscious locations are surveyed by Chakras, spinning wells of energy. Another step back culminates planetary radio stations broadcasting patterns on earth in subtle ways.
July lunar eclipse full moon Capricorn is a cosmogram that integrates the ingredients of both astrological signs of Cancer and Capricorn. Earth and Water with a preview of the future month Leo in the center. Cancer takes center stage as a keystone in the summit of the solstice arch. Cancer locks the whole together as archetypical mother. The shell is a sort of contained frame in a spinning spiral. This shield regenerates as a protective skeletal surface upholding the design of the all healing star fish.
The foundation, the astrological fourth house (home and family) is seen encased within the center crab while the last legs become endoskeletal ovaries. The 4 is also a right angle. The rising figure represents aspirants being lifted by the light. Within the landscape of the body are sapient patterns in relation to spatial travel. A Cancer woman, who is my anima, meditates on a dandelion pappus as a mandala.
Completed on June 14, 2020 this painting subconsciously prepared me for the trance I took while painting the July lunar eclipse full moon Capricorn painting. Immediately in front of the viewer is dandelion pappus as a mandala leading through a hallway of wings. In the corner within an intersection of lines is an astral figure that shares a harmonious proportion with a leaf. The scaffolding of this painting relied heavily on the research I did on the vèvès and the religion of Vodun.
Vèvès are a hospitable signs that transmit signals between earth and other planets. The vèvès that most appealed to me was Ayizan, a root Loa. The hexagram is hard not to notice in the example. The monumental shape has a trustworthy reputation in nature as being a stable pattern. Other lines in the painting that don’t have any obligation to any geometric shape are loose radio waves in space.
As a man the woman portrays a doorway in my art. I think interior guides are always the opposite sex of the frontiersman. They are referred generally as Dākinīs in Vajrayana Buddhisma, Valkyries in Norse mythology and Mami Wata in many parts of Africa. More recently called the anima by Swiss psychologist Carl Gustv Jung, these female advocates help facilitate man’s launch into the other hemisphere of the brain.
On a nucleus level, the painting conveys a basic subliminal fertilization theme. Sperm and egg are waves and particles. This simply reassures us that the cosmos is unbroken and always sexually active in the background.
On a larger scale the eye of the architect is the viewer who can watch other times occurring in an optical diagram. In the painting the autoscopic image of the lens is reflected in a pool, with which the curvature of the pool becomes an independent eye ball. Tracing the rays of the vèvès lines discloses a magnifying diagram that relates to the formation of the image on the retina as well as the pathway of light to the brain.
In the painting a recreation of the Statue of Liberty is a melanin woman. Her first step defends and washes thoughts of the weeping dead through their own tears. Her size violates space by flooding the city streets and a star above her head divides twilight into two Venuses. A small framed figure stands alone in the hall of truth between the two pillars of growth and intelligence.
Jupiter’s influence in the painting over shadows the basal ganglia in society’s collective brain. I wanted the viewer to get an eclipsed perspective of initiated and inhibited motion within our culture. These properties could include institutions that alienate ourselves from the natural world with other passing moods. The ingress and invisible Venus shifts value and self worth changing the sequence of our neural pathways. The torch of Jupiter is a stormy light and path to liberation. Jupiter extents the limits of our awareness motivating us to evolve and improve our human condition.
In a sense this painting is more about Saturnine extremes and egotism. Saturn represents discipline which is a positive quality. It is a planet that has a commitment with tested results. But there are indulgences to consider about the planet’s influence that are less than compassionate. The authority of Saturn is firmly expressed in our established institutions. It is a force best accounted for as a custodian who manages experience for us.
In the painting the X-ray of Saturn dissects a living tree to possess the birth of the main point. But only a book remains as an incidental part of looking for a vanishing point.
written by ©Mitchell Pluto February 14 2021
The Kykeon and Icon of Hygeia
The Kykeon and Icon of Hygeia
Acrylic painting Mitchell Pluto
Metaphors like the star, cup and snake of Hygieia are keys that exist within the universal mind.
The Kykeon and Icon of Hygeia is a gentle painting for a harsh transit. not unpleasantly rough for most people but maybe for a few
As a medical personification of health, Hygeia was daughter of Asklepios, the god of medicine. Traditionally Asklepios is known for his staff with a serpent which integrates similar details with the Caduceus of Hermes. I selected the Greek goddess in this painting in favor of other deities because of her relationship between three symbols.
The first being the molting snake going through various phases in an immutable soulful way-a vehicle or vehiculum
another study in sacred geometry. the serpent clock. time is a serpent, maybe a wave or particle. maybe an opening, drain, tunnel or fountain. the inner scale has 12 petals. the outer 24 all under the influence of what matters is happening now as we molt
Second, the amuletic badge ‘the Pythagorean pentagram’ belonging naturally to an order that expresses health, inspiration and harmony.
“In the pentagram, the Pythagoreans found all proportions well-known in antiquity: arithmetic, geometric, harmonic, and also the well-known golden proportion, or the golden ratio. … Probably owing to the perfect form and the wealth of mathematical forms, the pentagram was chosen by the Pythagoreans as their secret symbol and a symbol of health. Alexander Voloshinov
The third is the cup that contains the passage into the circle with which the diameter or chord passes through everlasting life and the hidden order of natural geometry.
