A scene or setting involves the combined effect of sight, sound, and subtext upon the imagination of the beholder. All artforms including theater, cinema, fiction, and painting involve a total-expression resulting from a comprehensive, immersive understanding of a scenario.
The staging of this impression provides a frame, or context, for the interpretation of the parts comprising the whole. The artist will achieve this by a careful and conscious ordering of colors, shades, actions, gestures, words, and intentions (the latter usually implicit and derived from the explicit elements formerly enumerated).
This forms the basis of magical ritual, being the active use of the imagination or image-making faculty in man. Of all esoteric authors, Kenneth Grant (1924 – 2011) has offered the best treatment of the subject—his nine-volume series collectively known as the Typhonian Trilogies—his writing is in itself an exercise in aesthetic enchantment.
Three main components may be identified, along with their corresponding sense-faculty. These include images and symbols (sight), gestures and actions (touch or body-movement), and words (speech, vocalization). Generally, magicians employ the Eastern terms yantra, tantra, and mantra when referring thereto.
Recently, these elements were recast into a threefold system of magical training and published as The Eleventh Degree. Its author, Denerah Erzebet, presents the concept of the Three Powers as consisting in the refinement of the material senses, thus extending them into their spiritual dimensions. In fact, the entire curriculum is an extension of man’s sexual, physical, and intellectual faculties via imagination. The powers are attributed generally to Touch (extra-sensory phenomenon), Sight (in-seeing or intuiting “impressions” beyond their visual representatives), and Feeling (beyond emotion, or subjective “ego”-based reactions).
Similarly, Grant begins with the most immediate, material embodiments and extends his analysis to include cosmic, higher manifestations:
“The Primordial Desire, which is threefold, is known as the kamakala, ‘Essence of Desire’. It consists of the Mother’s Creative Will (Ichcha), Her Creative Knowledge (Jnana), and Her Creative Act (Kriya). These elements are embodied in Her mantra, Her yantra, and Her tantra.” (Kenneth Grant, Beyond the Mauve Zone)
Focusing upon the visual allure of the Goddess—being the vehicle of desire through the archetypal Other—Denerah Erzebet introduces the concept of erotic geometry as the extension of erotic ideation:
“Naturally, the Beloved will display several traits corresponding to the magician’s ideal representation of the Other…These, however, are still biological, whereas in-seeing requires unveiling erotic codes in their most basic and elementary form. These include preference of color, shape, and linear patterns as they appear in myriad combinations.” (Denerah Erzebet, The Eleventh Degree, p. 158)
Essentially, the magician is inspired to move from the physical to the archetypal, by abstracting the Goddess’ alluring features into purer, mathematical forms. This is essentially Platonism, derived from the Greek philosopher Plato’s theory of forms, which explains that all physical objects are imperfect manifestations of their ideal form existing in higher dimensions. Basically, there is a divine, perfect Order that is the origin and rational model for all that exists in the flesh.
Erotic geometry, however, goes a step further. It is not sufficient, nor desirable, to merely abstract everything. This is the first phase. Once the Sensual has been recognized in its archetypal reduction, this primordial blueprint must then be brought back down to earth in order to initiate, refine, and consecrate matter. The meeting of flesh and Form, of personal and divine, of object and archetype, is the marriage of Heaven and Earth, and the recognition of Advaita or non-duality.
This is what is meant when we wrote that the future is fetishistic (see The Future is Fetishistic, published September 5th 2023). Sex will no longer emphasize coitus in the manner of mere reproduction. Instead, it will recognize the erotic, the sensual, as the coming of Light and the incarnation of the gods. The Will made Flesh: the crystallization of the Icon as the personification and deification of desire.
This conscious willing into being of greatness we call Esoteric Eugenics.
“The problem I raise here is not what ought to succeed mankind in the sequence of species…but what type of human being one ought to breed, ought to will, as more valuable, more worthy of life, more certain of the future.
“This more valuable type has existed often enough already: but as a lucky accident, as an exception, never as willed.” (Friedrich Nietzsche, The Antichrist)
All ritual seeks to conceive something, but not of this earth.
“The child, magical or mystical, which it is the object of the Rite to birth, is known as the dwarf or manikin. As its name indicates, the Vamana comports the notion of the woman (vama) throwing out or vomiting, via the left (vama) or lunar path, the vamana that incorporates the essences of Immortality.” (Kenneth Grant, Beyond the Mauve Zone)
Art is a curating process, a careful selection of the best parts. Consider how models are called “pin-up” girls…we affix them to a wall, and gaze upon them as upon the deity adorning the shrine. We “pin” something otherwise temporary and eternalize it. We idealize the beautiful and in doing so immortalize the “fetish” or idol of desire.
Cinema offers the best means of appreciating the peripheral dimensions of the sex act. We have made a case for context in a previous article (see Better Look Now). Consider how the circumstances or plot serves to eroticize the characters, only in the context of their journey is the meaning of sex imparted. Framed thus, the beauty of the woman is only achieved through the regalia of clothing, speech, colors, surrounding furniture, and social context. Verily, we speak of an exploitation of the female form, and this is best studied in exploitation films whose sole purpose is to maximize the contextualization of sex and indulge in its most aesthetic possibilities. Akin to the Roman gladiatorial games, or the Spanish bullfight, exploitation films are the leisure of the Coming Race. Who wants to watch mere copulation—mankind is not some zoo animal!—we demand only the most extravagant ceremonies!