Unveiled Mysteries describes an encounter with St. Germain (see also The Comte de Saint Germain), here described as an Ascended Master, virtually a God, and able to manipulate the fabric of reality. Ballard describes a series of astral trips in time and space with St. Germain, to lost civilizations in South America and the Sahara, as well as well-stocked bunkers of the ancients in the Grand Tetons, Yellowstone, and Mount Shasta. Ballard and St. Germain revisit past lives as citizens of Atlantis and Mu, and they turn out to be relatives. A final chapter mentions encounters with entities from Venus, a theme of later UFO cargo-cults of the 1950s. Connoisseurs of this genre will appreciate Unveiled Mysteries. The book is written in a breathless style with a more than liberal amount of em-dashes, Inappropriate Capitalization, and melodramatic plot-points which resemble golden-age pulp sci-fi. There are incoherent, surreal rants which would not be out of place at a Church of the Subgenius rally.
The book has obvious similarities with A Dweller on Two Planets, including passages which were probably lifted directly. And much of Ballard's metaphysics, history of lost continents, 'Great White Brotherhood' spiel, and so on, is derivative from Theosophy. However, according to some of Ballard's ex-disciples, plagiarism was probably the least of his spiritual shenanigans.
still here 21:11
A Pedunculate Cirripede from the Upper Silurian of Oesel, Esthonia
Some grasping nitwit has started something called the Pynchon Wiki, having opportunistically attached it-and-him-self to the rise of attention in re. "Against The Day", which deserves neither linkage nor attention.
still here 12:16
Mischief, magic. Monet's hand enters the paint and the painting.
Claude Monet Painting by the Edge of a Wood, 1885
John Singer Sargent
Summers in the Country: Giverny
Americans in Paris
Metropolitan Museum of Art
A less brief exegesis from the archives, here, with a link to an early-days image that's tonally much less faithful.
still here 00:00
Seeing them at first as captured and real was pretty exciting, a set-up for the disappointment of realizing(? I'm still not exactly clear, this doesn't seem to be real, but there's no captions) they'd been created, rather than found by the camera and the eye. The obvious question, of why it matters, is pretty easily answered - because it does. Not because of some unspoken rule, or the regulations of some official club somewhere, there's no commandment you can turn to and work your way around - it matters that's all.
They're great images, she's a brilliant photographer, but knowing they were built, or that some were and some weren't and she intentionally blurs the line, makes them much less exciting.
The first image linked to though I think may be veracitous.
still here 00:04
---------------------- ... the one lost in the steam
of a pot of boiling cabbage, I would be the one...
still here 23:19
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