Emma Kunz: The Researcher Who Refused to Become a Guru
https://www.frieze.com/article/emma-kunz-researcher-who-refused-become-guru

She considered herself a researcher, believing her work would be understood in the 21st century.

"To draw, she employed big sheets of graph paper.​ The paper was usually one square metre, on which she drew patterns using colour crayons. After a period of deep concentration, an ordered system of dots appeared in her mind. Then, she used a special pendulum as a sort of focusing device to discern the pattern of lines and shapes. All of this was done in one sitting, sometimes for long hours until the work was finished and she was on the verge of collapse. She would follow with an explanation, sometimes a few hours long, but she deliberately blocked any attempts to make notes. She did not want to distort her message by fixing it with written words."

Download more of the Kunz collection HERE

Hilma af Klint
https://hilmaafklint.se/about-hilma-af-klint/

Hilma af Klint, along with Anna Cassel, Cornelia Cederberg, Sigrid Hedman, and Mathilda Nilsson, formed "The Five," a group deeply engaged in spiritual exploration through séances and automatic writing. They believed they communicated with higher spirits, receiving messages that they transcribed into drawings. In 1907, af Klint received a directive to lead the group, but the others resisted, leading to its dissolution. This pivotal moment led af Klint to focus on her most significant body of work, "The Paintings for the Temple," which she believed were divinely inspired. These works, abstract and non-figurative, were far removed from her more conventional paintings, which provided her primary income. Her esoteric paintings remained largely unknown during her life, shown only within spiritual contexts, and were not widely recognized until decades after her death. A pivotal moment in her posthumous recognition came in 1986 when her work was featured in the Los Angeles County Museum of Art’s exhibition, "The Spiritual in Art: Abstract Painting 1890-1985." Today, af Klint's visionary works are celebrated globally, with exhibitions in major museums, highlighting her unique approach to art as a spiritual and philosophical endeavor. The Hilma af Klint Foundation acknowledges her profound connection to Anthroposophy, which significantly influenced her worldview and artistic creations.

View here artwork here:
https://www.wikiart.org/en/hilma-af-klint/all-works#!#filterName:all-paintings-chronologically,resultType:masonry

Or Download her collection HERE

Veda Austin - Water Crystallization Imagery
To celebrate reaching 100K followers on Instagram, Veda is giving a FREE freezing demo so you can learn my crystallographic technique.

Zoom Call Sessions
The zoom is set in New Zealand time at 8.30am, Sept 15th. NZ is a day ahead of most people, so Sept 15th for me in NZ is Sept 14th for those in the UK/US/EU. Please refer to your world clock for time equivalents in your timezone.
Here are some examples of start times: Sep 14th @ 7.30pm BST
Sep 14th @ 8.30pm EU
Sept 14th @1.30pm Pacific
Sept 14th @4.30pm Eastern
Sept 15th @8.30am NZT

Here’s the link to register-
https://www.vedaaustin.com/service-page/live-freezing-demo-3?referral=service_list_widget

If you want to follow along at home, use a glass petri dish in advance, or you can use a glass baking dish. Please note that this is not the same as a beginners workshop. Beginners workshops are small groups where Veda will help each person individually, and it often goes for a couple of hours...this is a simple live demo and there will be quite a number of people on the zoom.

The Metaphysics of the “Divided Line”
Pieter d’Hoine is Associate Professor Philosophy at KU Leuven.

https://lirias.kuleuven.be/retrieve/527763

"The aim of this paper is to expose Proclus, a fifth-century Athenian Platonist, as a key figure in a tradition of interpretation that exploited Plato’s divided line as evidence for the attribution of a doctrine of mathematical intermediaries to Plato. I will claim that to fully appreciate the rationale behind Proclus’s exegesis of the passage, it is necessary to read it against the backdrop of his Neoplatonic metaphysics— especially his views on the procession of all reality from a single principle and his particular views on the ontology of mathematical objects. I will further argue that Proclus’s insistence on the harmony between Plato and Pythagoreanism is the main motive behind this interpretation. For Proclus, the divided line is a typical sample of what he regards as “Pythagorean theology,” that is, instruction about the first principles of reality through mathematical images."

https://kuleuven.limo.libis.be/discovery/fulldisplay?docid=lirias1893797&context=SearchWebhook&vid=32KUL_KUL:Lirias&search_scope=lirias_profile&adaptor=SearchWebhook&tab=LIRIAS&query=any,contains,LIRIAS1893797&offset=0

I started homeschooling my son this week, embracing the Waldorf approach.Today is "science" day ... mostly playing with the garden and observing plant shapes.

Expect more posts later this evening when I have some more free time this evening.

A heartfelt thank you to everyone staying connected with this channel, navigating through the diverse waves of content.

Your feedback—positive or constructive—is vital to shaping the future of this channel. Please share your thoughts by reacting to my posts. Thank you for being part of this journey.

https://t.me/aetherforceposts
https://aetherforce.energy

#aetherforce

FIGURE OF THE SEAL OF SEALS - Giordano Bruno
"For the deduction and multiplication of subjects and forms"
(FIGVRA SIGLLI SIGILLORUM pro deductione et multiplicatione
subiectorum et formarum)

Yesterday, I was drawn to pick up Giordano Bruno's Thirty Seals & the Seal of Seals from my bookshelf. Found a page with a dodecahedral-tesseract figure, that look very reminiscent of certain radiesthesia and symbolic radionics diagrams I have seen and used. In the book "Shape Power", Dan Davdison also discusses the subtle power of this form. Bruno's seals are from the 1580s, which is both surprising and not so surprising simultaneously.