Page Content (OCR)
To the left of this assembly are (presumably) the people who live in the villa where these musicians are playing. I placed Allen Greenfield, myself, and the artist who produced the painting used on the cover of the present volume. She is symbolized by the Urartu head. The child morphed into “Father_ACME” aka “LAM 2000”. In the background, on the wall, we see “Do What Thou Wilt” — graffiti taken from a picture of Bobby Beausoleil’s house in the Haight, from the 1960s. Also, a “poster” — Antiquities of the Illuminati Tour 2003, featuring the picture which fronts the pres- ent article. It, too, isa collage. Examine the group of musicians: Meade Layne, Jacob Frank, Aleister Crowley, Mark Probert and Max Theon, with “FireMan” in the foreground dancing to the music. Perhaps suggesting the following? “I SEE o’ nights among the whins The Devil walking widdershins. “ —Aleister Crowley — “The Devil’s Conversion”, from KONX OM PAX. It is this sort of thing we are referring to when we speak of art as cipher. The image here, for us, evokes this poem from Konx Om Pax. We recommend the entire poem, but only quote the first line, above. In the gathering of the musicians, and the “Devil walking widdershins” — we can see a couple of pentagrams. The Right and the Averse. The apex of the Right Penta- gram is Crowley. The Apex of the Averse Pentagram is “FireMan”. Even the angles of the heads and the directions they point suggest this. Not only is this a piece of art: it is conveying a very vital teaching, as to how the Illuminati really works. What is this? A Secret Ritual of the Illuminati? I was not aware of any of this at the time I created the piece. I was teaching myself Photoshop, as I said, and I was more interested in creating interesting and humorous art pieces to illustrate the Antiquities website. The work of narrating the past involves a great deal of conjuration — of the char- acters from the past that we study and write about. Particularly those characters whom we are connected to by sundry associational links — “We are a VERY BIG Organization!” We do this with our writings, our websites, the information we share, the record- ings and the visual art — and so this is how it transpires that the Illuminati can and do arrive on the scene at repeated intervals, usually without any advance notice. Another thing — consider the elements as glyphs that represent a trigger to the en- tire body of each “symbol’s” work — the works of Layne / BSRE, Jacob Frank, Aleister Crowley, Mark Probert / Yada di Shiite, Max Theon — for example, as well as Allen’s writings, et al. I conclude with a short description of the scene that opens this afterword. Secret Cipher of the UFOnauts