Reference: Eruption in Santori as a explaniation of Minoan Civilization end.

The head of one of the snakes from Delphi that Constantine ‘moved’ to Istanbul. In my view, this was an act intended to mark the end of the ancient world, the worship of the goddesses and the power of the sibyls and Pythian priestesses.

“Her benevolent side represented music, dance, joy, love, sexuality, and maternal care, and she acted as the consort of several male deities and mother of their children. These two aspects of the goddess exemplified the Egyptian conception of femininity. She crossed the border between worlds, helping deceased souls in their transition to the afterlife.” Wikipedia

The serpent column. Brought by Constantine to “Constantinople” (Istanbul) as a symbol to mark the shift of the center of the world from Delphi to Constantinople… and the end of the Oracle of Delphi and the power of its priestesses. As if that weren’t enough, it was “buried” so that the other obelisks would stand out.🤦‍♂️😳🫣😢

Archaeological site of Eritrea (now Ildırı, Turkey)

This is where the Eritrean Sibyl prophesied.

According to the official history of the Catholic Church, this sibyl prophesied the final judgment. The Greek texts inspired Saint Augustine, who translated them into Latin, and they later became El Cant de la Sibil.la

1–10: Depictions of the goddess or priestesses.

11: The image shows a Kore, a female Kouros

1 Nymph

2 and 3: God, possibly Pluto

Notes

From various readings and the videos below, I have taken the following notes:

• Minoan priestesses led a religion that worshipped both a female deity, the Goddess of Serpents, and a male deity, the Bull.
• The Goddess of Serpents could be the predecessor of Demeter and Persephone.
• It is unclear whether it was a matriarchal society.
• The palaces were centers of religion, trade, and work. Historians use them to establish the periods of their history.
• Although there were kings and queens, neither their art depicts them nor do their documents mention names.
• They had no army. They were invaded and rebuilt. Until approximately 1400 BC. Depending on the source, almost 1000 years without an army.
• They traded with Egypt, Anatolia, and mainland Greece.
• They produced wine, oil, and wheat.
• Their autonomy (the name they used for their people) is unknown.
• Deforestation in Crete may have begun with the construction of ships.

Hypotheses/ideas

• It may seem that the research is about the Goddess, but I am more interested in the figure of the priestesses. Real women with a practice, techniques, a lineage, and a role in society.
• Although the background is “known,” it is important to remember the balance between the feminine and the masculine in both men and women. This can be achieved with the techniques we know. The search is more oriented toward evoking these aspects, finding a language that helps us remember.
• In one of Eva’s videos, she comments on the possibility of a balanced religious direction (feminine/masculine). In the readings I do at random, the aspect of the Goddess or the shamanic (iatromantes, for example) is often discussed, but I have not yet found any references to balance.
• The Minoan priestesses could have taught the Maenads who maintained the cult of Dionysus, which was more politically correct after the fall of the Minoan civilization.
• Both have a clear link to the figure of the Sibyl, who apparently did not officiate ceremonies but used the same techniques of altered states of consciousness. And to the tantric women.
• They would also have a connection with my suspicion that the cult of the Sibyl in Mallorca has a prior link with some female deity who was not politically correct after the genocide of Jaume I.
• The Minoans, like the Mallorcans, have lost their proper name over time.
• When I see the fresco of the young man jumping over the bull and the two priestesses, I wonder why it is always said that they also jumped. It could be that they are accompanying him in taming his inner bull. In the fresco, the women are in front, grabbing the bull by the horns, and behind, waiting for the man. They seem to be in control of the situation.

Sources

Wikipedia https://en.wikipedia.org/wiki/Minoan_civilization

On my walks through the woods, I came across a spot: 42°5’29.76” N 12°53’4.56” E, a small space no larger than 50 m². There, sunlight filters timidly through the trees for just a few hours a day. The stream, Fosso Maricella, is barely a trickle of water, its hypnotic sound accompanying the stillness of the place. In this tiny corner, scales take on a whole new dimension: the small contains a universe, and time seems to follow a different rhythm.

Parmenides’s hometown… for me, a clue, and further confirmation.

The magical tradition has always existed within us. And it will always resurface.

It does not come from India, nor from Tibet, nor from Zen monks, nor from an ancient Native American tribe. It comes from our hearts, from the stars, from the primordial sound that resonates through everything.

I ask for clarity in explaining the process.

Tamara was nearby and told me that she saw a temple in Ireland (Newgrange) that she was able to visit during the winter solstice. I understand this as a possible clue.

Session teaching Tamara. I don’t ask anything.

I ask for clarity regarding direction in all aspects.

During the conversation, I experience a lot of pain and cry deeply. It becomes clear that I need to let go of everything.
I see that many connections no longer exist. Simply put, the bond with some people is no longer there.
The disconnection became very evident on 20-11, upon returning from Rome.

When I “fall,” I break my glasses. Later in the day, I keep breaking things, tripping, and seeing objects fall from my hands…

The Ecology, Cosmos & Consciousness salon, The October Gallery, London, 23rd February 2016

Mad women running on top of the mountains without the supervision of their husbands, ingestion of mind-altering concoctions, ecstatic nocturnal dancing to the rhythm of the frame drum, ritual sexuality; men voluntarily practicing self-castration, these and more are the ingredients composing the compelling worship of two deities which turned the world upside down back in ancient Greece and Rome.

Today I cannot process, let alone write, the links I have discovered between the research on Sibila, music, art, artificial intelligence, and my personal history of the last year… but let the day and time remain.

Two points in time, November 20 and March 2, 2024.

The other reference of day and time is the CCCB, March 2, 2024.

1. The Horus amulet or stele usually takes the form of a stone slab depicting the god Horus in the form of a child (Harpocrates) standing on two crocodiles and holding other dangerous animals such as snakes and scorpions.

I ask for clarity regarding the relationship issues at the residency. There are no images, but I feel calmer.

The vision during the first conversation with the tree was of a woman lying in bed in intimacy, without a face.
The gaze focuses on the navel. I connected this to the Omphalos as a navel and represented by a circle with a dot inside.
That day, I later linked it to the Monad, Pau, and Ilaria.

On November 13, I also saw the connection with my signatures and logos. Both signatures have a main circle with a dot outside at the bottom right. The logos already include the dot at the center.

Headache. Something is not going well, and I don’t understand it.

I ask for clarity… my usual prayer. I inquire about the photographic expression of the place and see “the photo.” Even at that moment, I understand it is the only one needed.

I suggest to a friend that she ask questions for herself. In the responses, there is always physical pain. In mine, there is none.

During the photographic captures, I have a strong emotional outburst and break down crying and screaming. I interpret it as the moment of release from the previous problems caused by publishing Rosella’s photograph.

I know from the video that I was exploring different ways to enter the tree’s field. I don’t remember any specific question.

The Sibyl of Tibur used to walk here… would they see this as her underworld?

Grande Cascata ai Tivoli nella Valle dell’Inferno.

Here is the first image… can you give me an interpretation?

In this drawing, I see a play of fluid and curved lines that appear intertwined, suggesting a sense of continuous and organic movement. The simplicity in the use of strokes creates an abstract form that can be interpreted as a figure in transformation or a flow of energy. The shaded areas, although subtle, add a deeper dimension, suggesting a connection or contrast between areas of light and shadow, or perhaps between the conscious and the unconscious.

Why have I come here?

I see the image on the cover of a craniosacral biodynamic book. Interpretation of the moment: God has brought me here to read about biodynamics.

How can I express this artistically?

I see the belly of an attractive woman with soft, white skin. I don’t see the woman, just the belly and the navel… it looks like a black-and-white photo taken in an intimate setting.