Cultural Venom

from "Black Light of Agartha"

Cultural Venom

The venom of the Demiurge, his plasmation of his essence manifesting itself as Time-flow and the subordinate hypostases of His being the logoi; aions and angelic hosts-this is the akasha which crystallizes in the forms of archetypal entities within the plane of manifestation. These are conscious nodes of His venom, the venom of the ouroboros serpent; of the spider which weaves its matricized webs of zion and entraps the Uncreated Spirits within its artificial and eregoric structures, binding their mesmerized souls in the Hades of His infernal Creation. Such tissue of lowest density affects the Uncreated forms in their being, trapping them in lowest density.

Once they have become their former selves donning the mask of the corporeal structure of transient appearance they then form, at a later epoch of primitive civilization cultures and these cultures being under the influence of the Demiurge and His Will and mind generate certain formal expressions of their innerbeing in relation to Himself, their cultures at this time and subsequently in more sophisticated forms being coherent with His essence, i.e. being what is called 'sacred', that is to say 'holy' in the sense of consistent with His Will, cohering with the structure of the creator and an archetypal level 'as above so below'.

Of course these cultures may be 'sacred' but the form here cannot be considered per se 'good' or desirable according to the weltanschuaang herein propounded, that of the Hyperborean Wisdom, the recognition of the fallacy of the Demiurge and 'The Great Deception', the secret of Maya.

Once the veil of Maya is pulled aside through the instrumentality of the Hyperborean Wisdom the Truth of the Uncreated Realm of the Spirit is then manifest to the site of the wise. The myriad veils of cultural simulacra are perpetually woven by the pasu beastman and asleep and partially awakened Viryas under the influence and instruction of the Demiurgic hosts which confer thereby meaning upon the entities which have manifested in the creation and which the Demiurge manifests as His Frankenstein's monster's to eventually reabsorb into Himself and with the added energetic investment of the cultural superstructure and thought-energy of the fixed Spirits' reflections reflecting back into Himself and swelling His tumerous essence which amplifies as it expands only to contract into itself in pralaya as the opening of the maw of Carcharodon carcharias (the Great White shark) snapping shot on the entities and absorbing them into Himself the Cosmic Vampire in pralaya.

Within the plane or dimension of 'human reality' this kaleidoscopic welter of phenomena the cultures are formed and serve to distract the attention of the vulgar as fixations of their consciousness, serving as mechanisms to reflexively feedback the conscious energy of the spirits' into the matrix into which they are immersed through the transmission of thought energy and the act of conferring meaning upon the entities swelling the Demiurge’s power.

Culture thus is a mechanism of entrapment within the matrices of the Demiurge. However, if antagonism toward the Demiurge and the structure of His matrix prison is sought, the True counter-culture is a potential vehicle of liberation-that which violates and opposes what has been called 'the harmony of existence' serves to condition the consciousness of the beings who are His receivers and interpreters to work against the currents of disintegration, against being absorbed into the Demiurge as His food.

Hence the harmonious cultures which have served as a reflection of the Divine have failed to tie man to the earth as they are still persist counter-cultural presences over the globe which serve to shatter the chains which have found the captive Spirits to the matrix.

The cultural venom in its saccharine sweetness is a poisoned bait the Demiurge and His minions on and above the earth plane have served up to entrap the captives Spirits still further in matter, binding their Spirits as flies in flypaper, attracting them to the scent and dazzling appearance of the cultural superstructure.

This cultural flypaper is put out to entice the population to take into their consciousness the archetypes of the Demiurge and thereby to create sympathetic bonds which serve the purpose of binding them to 'The One'. Such cultural forms as those of the medievals under the dark ages of catholicism with its cathedrals and stained-glass windows projecting into the consciousness of the population their ‘sacred essence' as well as (presumably) the chiliastic geometrical aesthetics of Hindu and earlier Persian culture from which much of it derives are cases in point.

Both were creations of the 'chosen people', catholicism and zoroastrianism the monotheistic religion of Persia and both manifested in the cultural forms of what may be called 'archetypal aesthetics' that based upon and utilizing cymatics (cathedrals) and sacred geometry both in architecture and in illustration; calligraphy and design.

These structural aesthetic forms served the purpose of binding the Spirits ever more tightly in His straitjackets of the cultural superstructure programming the being to attune itself to Deity, harmonizing with 'The One' and thereby becoming ever more tightly bound thereto as a fly woven into the matrix by the spiders of Zion whose webs are the cultural superstructure that entraps Spirit in matter.

This sacred culture often touted as the 'truth and the light' has thankfully largely been disintegrated and disbursed by the 'entartete kultur' of the cultural Marxism of the 'left' and it's jewish architects from Tristan Szara to Picasso to subsequent members of the avant garde of the sabotage of the then prevailing European culture of the Hyperboreans.

This was the endeavor ('jihad' or 'effort' in arabic) of the anti-European and specifically jewish faction and serves their agenda of installing their own Abrahamic theocracy over the world with themselves overarching all as their goyim slave labor be they christian; muslim or a hybrid or other variant of their subordinate religious template that they control and administer in conjunction with the demons of Chang Shambala and the Great White brotherhood.

Hence the take-home message, contrary to the pundits of the simulacral counter-culture of right-wingism, is that 'entartete kultur' is not that which is the 'reflection reflecting' of naturalism as revealed in the third Reich nor even the 'sacred culture' of the Abrahamic and other monotheistic mind programs but rather the True counterculture of the Hyperborean culture of Eternity which is the labris which shatters the adamantine chains which binds the sleeping Viryas to the structural carapace of substance, the plasmation and corrosive venom of the Demiurge which disintegrates their Spirit.

Detaching oneself from this entity and following the path of liberation is attainable only to the culture of the Hyperborean, the runic and noological culture which transcends and precedes the archetypal forms of the demiurge and has its place in eternity. The ruins and the lithic wisdom; the language of the birds and the angularity and precise anti-natural structure of the realm of Hyperborea and the bridge to the Superman beyond the spatio-temporal matrix.

Hence the phrase 'back to nature' and 'nature's law' is the bad path towards the abyss and the phagocitization of the soul, the path to Eternity, it's antipode, the leftwards path of the swastika, is the path of the re-turn to origin and this through the antagonistic cultural superstructure of the Hyperborean Wisdom.

The cultural venom of modernity (under the monotheistic death cults and in the form of liberalism) has all but buried the Hyperborean Wisdom under its excreta and stuffy cobwebs, matricized concealment of the Truth of Spirit. The Truth can only be understood through a negation of these sacred idols of the Demiurge and through the alchemical nigredo of their destruction, the shattering of these illusory forms of rigidified artificial archetypes which have no place in Eternity.

The vulgar materialism and crude naturalism of the pantheists, the rigid structures of the death cults of enervation, their ossifying influence on the consciousness of the captive Spirits, serve the purpose of the plan of 'The One' in the absorption of the Spirits’ vital essence through the evolutive process, fusing it to the soul and crystallizing the dyad into a structure possessed by 'The One' and eventually assimilated into the belly of the Beast.

The antagonistic culture is that which is anti-natural and anti-logos, which is 'Alogos' and which the monotheistic bigots would call 'Satanic' but is in reality luciferianism. The culture of Hyperborea beyond even the archetypal distortions of the Demiurge. Hence that which does not harmonize with 'The One', that which does not use or bind the consciousness to the archetypal structure of 'The One', that which is atonal, which is inharmonic, which is nonetheless a form that has an inner structure of consistency and logic wholly incompatible with the material plane and its entropy.

That which vitalizes, awakening the blood memory. Not simply invigorating the passions and in-volving (in involution) the beastman in his dance of the muses in Dionysiac frenzy (though certain forms of frenzy and ecstasis are essential just not the ec-stasis of going away from the center or nucleus of one's being).

Culture may serve as a vehicle of this ‘ec-stasis’ (‘going away from’ in Greek) just as the culture of the synarchy may serve as the mechanism through which the anti-thetical process, the binding of the Spirit into matter, may be achieved fulfilling the plan of 'The One' in the absorption of the Spirits’ of the Immortals into Himself.

The language of English serves this purpose in uprooting the naturalistic associations between itself and 'The One'. The structures of the writing style of 'left to right' are against the sacrality of Demiurgic culture (which is 'right to left') and the abstract paintings as such as Julius Evola are also a presentation of aesthetic modes of transcendence from the crudely natural plane as well as the Demiurgic archetypal plane.

The abstract and precise linearity of various cultural forms as well as those of a martial and bellicose nature which facilitate the liberation of the Spirit from matter and reinforce a fundamental hostility towards the mire of matter which is the lower dimension of 'the world', in which the Spirit is trapped. This is a source of counter-cultural ‘strategic opposition’.

Hence to purge the Spirit of the venom of the Demiurge, a strong purgative is needed in the form of a war-like culture which one may use to purify their contaminated Spirit from this Demiurgic sewage called 'culture'. The re-turn to Origin entails a leap over the abyss and the vitality of the being must be worked up to a heightened pitch of tension in order to achieve this purpose of shattering the iron maiden which closes in upon one's portending doom.