More About Strange Net Reported Sean From Evolved Mermaids

nightbat wrote

Human made-up picture of Sean See:
http://photo.net/photodb/photo?photo_id=5091434

The meeting with the goddess who is incarnate in every woman is the
final test of the talent of the hero to win the boon of love, which is
life itself enjoyed as the encasement of eternity."

Simone de Beauvoir (1908-1986) proposed: "In the deeps of the sea it is
night: woman is the Mare tenebrarum, dreaded by navigators of old; it is
night in the entrails of the earth. Man is frightened of his night, ....
which threatens to swallow him up. He aspires to the sky, to the light,
to the sunny summits, to the pure and crystalline frigidity of the blue
sky; and under his feet there is a moist, warm, and dark gulf ready to
draw him down; in many a legend do we see the hero lost forever as he
falls back into the maternal shadow,- cave, abyss, hell."

And from honorary Team Science Member and adventurer Columbus personal
diary.

"The day before, when the Admiral was going to the Rio del Oro, he said
he saw three mermaids who came quite high out of the water but were not
as pretty as they are depicted, for somehow in the face they look like
men. He said that he saw some in Guinea on the coast of Manegueta."

—From the Diary of Christopher Columbus, January 9, 1493

In myth and folklore, mermaids are supernatural, sea-dwelling creatures
with the head and upper body of a beautiful woman and the lower body of
a fish. The mermaid is frequently described as appearing above the
surface of the water and combing her long hair with one hand while
holding a mirror in the other. Mermaids, in the numerous tales told of
them, often foretell the future, sometimes under compulsion; give
supernatural powers to human beings; or fall in love with human beings
and entice their mortal lovers to follow them beneath the sea.
Similarities frequently exists between the stories concerning mermaids
and those told about the Sirens. 30 The Sirens of Homer's Odyssey are
often depicted as mermaids in contemporary art.

About the Sean Pros

"The North American Indians tell a story of how they once lived in a
land far away to the west, a barren coast land where they were hungry
and cold and did not know how to find food. Then a man appeared from the
sea, rising every day out of the waters and coming quite close to shore,
though he never actually touched the land. I He was a strange figure,
like a man from the waist up but with two fish tails instead of legs and
a face that might have been human yet was oddly like that of a porpoise.
His long hair and beard were green. He would float on the surface of a
the water, his fish tails clearly visible, and sing to the people. He
told them how beautiful was the land whence he had come, the land of the
sea. He told them of the treasures that lay under the waves, and of the
strange fish people, and of the lovely green light that shone in the
deeper waters, and the people, knowing that those who disappeared under
the water never returned to earth, were frightened. But then he told
them that across the waters lay another land to which a he could guide
them, a land where they could live and find food. The Indians hesitated.
But eventually, since they were nearly starving in their own land, they
decided to trust the -words of the fish-man. They built boats, gathered
up their families and their few possessions, and followed in the wake of
this strange green-haired creature who called to them. He led them east,
straight across the sea to the land of which he had told them, and there
they landed safely and there they founded a new tribe; it was thus that
the Indians came from Asia to North America. The fish-man, or fish-god,
as he may have been, then disappeared, still singing, and was never seen
again." 62

SIRENS AS SYMBOLS

Sirens are a universal symbol with a multitude of traditions, myths and
meanings. Sirens are hybrid creatures, half animal half woman with
strong feminine identities. The two beings coexist in the same body with
the prerogative of accessing the qualities of both ever being
transformed, perpetually provocative and disturbing. In her book The
Mermaid and the Minotaur, Dorothy Dinnerstein observes: "Myth-images of
half-human beast like the mermaid and the Minotaur express an old,
fundamental, very slowly clarifying communal insight: that our species'
nature is internally inconsistent, that our continuities with, and our
differences from, the earth's other animals are mysterious and profound;
and in these continuities, and these differences, lie both a sense of
strangeness on earth and the possible key to a way of feeling at home here.


DYING TO SELF


The song of the Sirens call men to abandon themselves, to hurl into the
deep, to sprout wings, to transform, to die to self and emerge into a
new form with new knowledge and understanding. It is significant that
Sirens are creatures of water for water has powerful symbolic value.
Water is also a duality, it can sustain life, give comfort and it is a
source of life and abundance. Water is the symbol we use for baptism and
spiritual rebirth and renewal. It is the primordial soup, it represents
purification and regeneration and it is the source from which each of us
was born. Water however can also be destructive, causing inundation,
drowning, annihilation and death. Sirens and mermaids embody all of
these qualities and meanings and are thus symbols of both death and
immortality. They call men to the unknown, to change and transformation
the essential passage from one space to another, form one condition to
another. They serve as escorts during times of transit, danger,
transformation, uncertainty, sea voyages and missions of war. Sirens
call man, urging him to abandon what he is, to become something new.
Fear of Sirens is the fear of upsetting the established equilibrium,
fear of the unknown, fear of transformation, fear of learning, fear of
losing oneself, fear of being out of control and fear of descending into
the deep (the unconscious)

In Sandro Botticellies, The Birth of Venus, c. 1485-86. Venus was
conceived when the Titan Cronus castrated his father, the god Uranus,
and the severed genitals fell into the sea and fertilized it. Venus is
then born and is transported from the sea by a giant gilded scallop
shell to the shores of Paphos in Cyprus. Sister Wendy in The Story of
Painting states 'The lovely face of Venus shows a hauntingly intangible
sadness as she is wafted to our dark shores by the winds, and the
garment, rich though it is, waits ready to cover up her sweet and naked
body. We cannot look upon love unclothed, says the Birth of Venus, we
are too weak, too polluted, to bear the beauty." The Birth of Venus
suggests an innocence and purity inherent in perfect beauty that is
shared with all Sirens. Sirens and Venus also share a common origin,
being born of the sea while Venus unlike her sisters completes her
transmutation, and leaves the sea to live among men.

Imagery expressing the female form brings together powerful forces of
death and sensuality, the eternal link between Thanatos and Eros. This
expression reached a high level during the romantic era of the early
nineteenth century. In Romantic art, death became a metaphor not of
loss, fear and horror but of love and desire. William Wordsworth
explores this theme in his poem Strange Fits of Passion Have I Known.
The sensuous female forms of these monuments make this association
explicit. In romantic love the object of a man's affection is more
greatly valued the more unattainable she is. This is the origin of
placing a woman on a pedestal keeping her as an ideal worthy of pure
love. The Siren manifests the ideal form of unavailability; she is
beautiful, cannot serve as her lovers consort and resides in an
unreachable realm.

MERMAIDS AND SIRENS AS SHIPS FIGUREHEADS

Ever since man first set to sea, sailors have tried to ensure safe
passage by attempting to pacify mysterious and unpredictable gods with
symbols of faith. The ship's figurehead, a typical example of this
tradition, took many forms over the centuries. Human figures first began
to appear in the late 1770s. It wasn't long before beautiful female
figures began to appear including the classic pose of the mermaid and
other female goddesses leaning into the wind.

THE SPIRIT OF WATER

Wells, springs, rivers and lakes were sacred places in many cultures.
Sacred waters are traditionally haunted by a host of female; spirits,
white ladies, mermaids, fairies or Naiades suggesting the submerged
memory of a goddess. The water habitat symbolizes the fluid nature of
female sexuality, and its ancient connections with water. 38 In many of
the mermaid and Siren myth the protagonist "dissolves" into the water.

We were born of the water and lived in its realm for hundreds of
millions of years. Our extended transmutation from reptilian form to
human form is reflected in the metaphor of the mermaid. This metaphor
resonates because it connects us to our watery roots and reminds us that
the story is not yet done.

The passage from conception to birth takes place in the maternal womb,
the eternal earth, the grain of wheat which Persepone represents.
Bachelard states; " In point of fact, the leap into the sea, more than
any other physical event, awakens echoes of a dangerous and hostile
initiation. It is the only, exact, reasonable image, the only image that
can be experienced of a leap into the unknown. It is in the sea, the
womb, and the grave all places of birth, rebirth and regeneration where
the enigma of transformation is concealed. The danger and seduction of
the sea becomes a metaphor for the womb, the grave, and the dangers of
the feminine realm.

"The genealogy of the Naiades was determined by geographic region and
literary source. Naiades were either daughters of Zeus, daughters of
various river gods, or simply part of the vast family of the Titan
Oceanus." 34

Like all the nymphs, the Naiades were female symbols of the ancient
world and played the part of both the seduced and the seducer. Zeus in
particular seems to have enjoyed the favors of countless Naiades and
other gods do not seem to have lagged far behind. The Naiades
frequently fell in love with and actively pursued mortals as well.
Classical literature abounds with the stories of their love affairs with
both gods and men and with the tales of their resulting children." 34

The main theme of Goddess symbolism is the mystery

of birth and death and the renewal of life...

Marija Gimbutas, 1989

Joseph Campbell in his book The Hero With a Thousand Faces offers
insight into the roll of the Goddess in myth:

The Meeting with the Goddess

"The ultimate adventure, when all the barriers and ogres have been
overcome, is commonly represented as a mystical marriage of the
triumphant hero-soul with the Queen Goddess of the World. This is the
crisis at the nadir, the zenith, or at the uttermost edge of the earth,
at the central point of the cosmos, in the tabernacle of the temple, or
within the darkness of the deepest chamber of the heart.

Only geniuses capable of the highest realization can support the full
revelation of the sublimity of the goddess. For lesser men she reduces
her effulgence and permits herself to appear in forms concordant with
their undeveloped powers. Fully to behold her would be a terrible
accident for any person not spiritually prepared: as witness the unlucky
case of the lusty young buck Actaeon. No saint was he, but a sportsman
unprepared for the revelation of the form that must be beheld without
the normal human (i.e., infantile) over- and undertones of desire,
surprise, and fear. Woman, in the picture language of mythology,
represents the totality of what can be known. The hero is the one who
comes to know. As he progresses in the slow initiation which is life,
the form of the goddess undergoes for him a series of transfigurations:
she can never be greater than himself, though she can always promise
more than he is yet capable of comprehending. She lures, she guides, she
bids him burst his fetters. And if he can match her import, the two, the
knower and the known, will be released from every limitation. Woman is
the guide to the sublime acme of sensuous adventure. By deficient eyes
she is reduced to inferior states; by the evil eye of ignorance she is
spellbound to banality and ugliness. But she is redeemed by the eyes of
understanding. The hero who can take her as she is, without undue
commotion but with the kindness and assurance she requires, is
potentially the king, the incarnate god, of her created world. 56

Possible Officer Warhol reported Earth End times and the call of the Sirens

Dream, symbol. We could then say that today’s sirens are the
reemergence of the weeping, hair-tearing, breast-beating tomb Sirens of
Greece. Or of those forces who, with a cosmic music, procure the
pleasure of death. They are the inextricable presence of distant and
coeval events, of the real and the phantasmagoric. The last
metamorphosis of the Sirens, their last face in history. And our last
rejection of them. Still ambivalent then, indicating both the alarm and
the all clear, Sirens have learned to rise above the feral howling
created by man. Since the first World War, perched atop churches and
city towers, they have been warning of the arrival of a new breed of
death-bearing birds. In the event of disaster sirens start
automatically. Could that be the only way they have left to continue
their chant, whatever it may be, in the stubborn hope that someone might
hear?"

See:
http://northstargallery.com/mermaids...idHistory2.htm

How come all the women you know are perfect, and fishy too, frootie?

Maybe Columbus wouldn't want to be one of your idiot ossifers? Have
you asked him?

Saul Levy


On Thu, 15 Feb 2007 05:39:38 -0500, nightbat
wrote:

nightbat wrote

Human made-up picture of Sean See:
http://photo.net/photodb/photo?photo_id=5091434

The meeting with the goddess who is incarnate in every woman is the
final test of the talent of the hero to win the boon of love, which is
life itself enjoyed as the encasement of eternity."

Simone de Beauvoir (1908-1986) proposed: "In the deeps of the sea it is
night: woman is the Mare tenebrarum, dreaded by navigators of old; it is
night in the entrails of the earth. Man is frightened of his night, ....
which threatens to swallow him up. He aspires to the sky, to the light,
to the sunny summits, to the pure and crystalline frigidity of the blue
sky; and under his feet there is a moist, warm, and dark gulf ready to
draw him down; in many a legend do we see the hero lost forever as he
falls back into the maternal shadow,- cave, abyss, hell."

And from honorary Team Science Member and adventurer Columbus personal
diary.

"The day before, when the Admiral was going to the Rio del Oro, he said
he saw three mermaids who came quite high out of the water but were not
as pretty as they are depicted, for somehow in the face they look like
men. He said that he saw some in Guinea on the coast of Manegueta."

—From the Diary of Christopher Columbus, January 9, 1493

In myth and folklore, mermaids are supernatural, sea-dwelling creatures
with the head and upper body of a beautiful woman and the lower body of
a fish. The mermaid is frequently described as appearing above the
surface of the water and combing her long hair with one hand while
holding a mirror in the other. Mermaids, in the numerous tales told of
them, often foretell the future, sometimes under compulsion; give
supernatural powers to human beings; or fall in love with human beings
and entice their mortal lovers to follow them beneath the sea.
Similarities frequently exists between the stories concerning mermaids
and those told about the Sirens. 30 The Sirens of Homer's Odyssey are
often depicted as mermaids in contemporary art.

About the Sean Pros

"The North American Indians tell a story of how they once lived in a
land far away to the west, a barren coast land where they were hungry
and cold and did not know how to find food. Then a man appeared from the
sea, rising every day out of the waters and coming quite close to shore,
though he never actually touched the land. I He was a strange figure,
like a man from the waist up but with two fish tails instead of legs and
a face that might have been human yet was oddly like that of a porpoise.
His long hair and beard were green. He would float on the surface of a
the water, his fish tails clearly visible, and sing to the people. He
told them how beautiful was the land whence he had come, the land of the
sea. He told them of the treasures that lay under the waves, and of the
strange fish people, and of the lovely green light that shone in the
deeper waters, and the people, knowing that those who disappeared under
the water never returned to earth, were frightened. But then he told
them that across the waters lay another land to which a he could guide
them, a land where they could live and find food. The Indians hesitated.
But eventually, since they were nearly starving in their own land, they
decided to trust the -words of the fish-man. They built boats, gathered
up their families and their few possessions, and followed in the wake of
this strange green-haired creature who called to them. He led them east,
straight across the sea to the land of which he had told them, and there
they landed safely and there they founded a new tribe; it was thus that
the Indians came from Asia to North America. The fish-man, or fish-god,
as he may have been, then disappeared, still singing, and was never seen
again." 62

SIRENS AS SYMBOLS

Sirens are a universal symbol with a multitude of traditions, myths and
meanings. Sirens are hybrid creatures, half animal half woman with
strong feminine identities. The two beings coexist in the same body with
the prerogative of accessing the qualities of both ever being
transformed, perpetually provocative and disturbing. In her book The
Mermaid and the Minotaur, Dorothy Dinnerstein observes: "Myth-images of
half-human beast like the mermaid and the Minotaur express an old,
fundamental, very slowly clarifying communal insight: that our species'
nature is internally inconsistent, that our continuities with, and our
differences from, the earth's other animals are mysterious and profound;
and in these continuities, and these differences, lie both a sense of
strangeness on earth and the possible key to a way of feeling at home here.


DYING TO SELF


The song of the Sirens call men to abandon themselves, to hurl into the
deep, to sprout wings, to transform, to die to self and emerge into a
new form with new knowledge and understanding. It is significant that
Sirens are creatures of water for water has powerful symbolic value.
Water is also a duality, it can sustain life, give comfort and it is a
source of life and abundance. Water is the symbol we use for baptism and
spiritual rebirth and renewal. It is the primordial soup, it represents
purification and regeneration and it is the source from which each of us
was born. Water however can also be destructive, causing inundation,
drowning, annihilation and death. Sirens and mermaids embody all of
these qualities and meanings and are thus symbols of both death and
immortality. They call men to the unknown, to change and transformation
the essential passage from one space to another, form one condition to
another. They serve as escorts during times of transit, danger,
transformation, uncertainty, sea voyages and missions of war. Sirens
call man, urging him to abandon what he is, to become something new.
Fear of Sirens is the fear of upsetting the established equilibrium,
fear of the unknown, fear of transformation, fear of learning, fear of
losing oneself, fear of being out of control and fear of descending into
the deep (the unconscious)

In Sandro Botticellies, The Birth of Venus, c. 1485-86. Venus was
conceived when the Titan Cronus castrated his father, the god Uranus,
and the severed genitals fell into the sea and fertilized it. Venus is
then born and is transported from the sea by a giant gilded scallop
shell to the shores of Paphos in Cyprus. Sister Wendy in The Story of
Painting states 'The lovely face of Venus shows a hauntingly intangible
sadness as she is wafted to our dark shores by the winds, and the
garment, rich though it is, waits ready to cover up her sweet and naked
body. We cannot look upon love unclothed, says the Birth of Venus, we
are too weak, too polluted, to bear the beauty." The Birth of Venus
suggests an innocence and purity inherent in perfect beauty that is
shared with all Sirens. Sirens and Venus also share a common origin,
being born of the sea while Venus unlike her sisters completes her
transmutation, and leaves the sea to live among men.

Imagery expressing the female form brings together powerful forces of
death and sensuality, the eternal link between Thanatos and Eros. This
expression reached a high level during the romantic era of the early
nineteenth century. In Romantic art, death became a metaphor not of
loss, fear and horror but of love and desire. William Wordsworth
explores this theme in his poem Strange Fits of Passion Have I Known.
The sensuous female forms of these monuments make this association
explicit. In romantic love the object of a man's affection is more
greatly valued the more unattainable she is. This is the origin of
placing a woman on a pedestal keeping her as an ideal worthy of pure
love. The Siren manifests the ideal form of unavailability; she is
beautiful, cannot serve as her lovers consort and resides in an
unreachable realm.

MERMAIDS AND SIRENS AS SHIPS FIGUREHEADS

Ever since man first set to sea, sailors have tried to ensure safe
passage by attempting to pacify mysterious and unpredictable gods with
symbols of faith. The ship's figurehead, a typical example of this
tradition, took many forms over the centuries. Human figures first began
to appear in the late 1770s. It wasn't long before beautiful female
figures began to appear including the classic pose of the mermaid and
other female goddesses leaning into the wind.

THE SPIRIT OF WATER

Wells, springs, rivers and lakes were sacred places in many cultures.
Sacred waters are traditionally haunted by a host of female; spirits,
white ladies, mermaids, fairies or Naiades suggesting the submerged
memory of a goddess. The water habitat symbolizes the fluid nature of
female sexuality, and its ancient connections with water. 38 In many of
the mermaid and Siren myth the protagonist "dissolves" into the water.

We were born of the water and lived in its realm for hundreds of
millions of years. Our extended transmutation from reptilian form to
human form is reflected in the metaphor of the mermaid. This metaphor
resonates because it connects us to our watery roots and reminds us that
the story is not yet done.

The passage from conception to birth takes place in the maternal womb,
the eternal earth, the grain of wheat which Persepone represents.
Bachelard states; " In point of fact, the leap into the sea, more than
any other physical event, awakens echoes of a dangerous and hostile
initiation. It is the only, exact, reasonable image, the only image that
can be experienced of a leap into the unknown. It is in the sea, the
womb, and the grave all places of birth, rebirth and regeneration where
the enigma of transformation is concealed. The danger and seduction of
the sea becomes a metaphor for the womb, the grave, and the dangers of
the feminine realm.

"The genealogy of the Naiades was determined by geographic region and
literary source. Naiades were either daughters of Zeus, daughters of
various river gods, or simply part of the vast family of the Titan
Oceanus." 34

Like all the nymphs, the Naiades were female symbols of the ancient
world and played the part of both the seduced and the seducer. Zeus in
particular seems to have enjoyed the favors of countless Naiades and
other gods do not seem to have lagged far behind. The Naiades
frequently fell in love with and actively pursued mortals as well.
Classical literature abounds with the stories of their love affairs with
both gods and men and with the tales of their resulting children." 34

The main theme of Goddess symbolism is the mystery

of birth and death and the renewal of life...

Marija Gimbutas, 1989

Joseph Campbell in his book The Hero With a Thousand Faces offers
insight into the roll of the Goddess in myth:

The Meeting with the Goddess

"The ultimate adventure, when all the barriers and ogres have been
overcome, is commonly represented as a mystical marriage of the
triumphant hero-soul with the Queen Goddess of the World. This is the
crisis at the nadir, the zenith, or at the uttermost edge of the earth,
at the central point of the cosmos, in the tabernacle of the temple, or
within the darkness of the deepest chamber of the heart.

Only geniuses capable of the highest realization can support the full
revelation of the sublimity of the goddess. For lesser men she reduces
her effulgence and permits herself to appear in forms concordant with
their undeveloped powers. Fully to behold her would be a terrible
accident for any person not spiritually prepared: as witness the unlucky
case of the lusty young buck Actaeon. No saint was he, but a sportsman
unprepared for the revelation of the form that must be beheld without
the normal human (i.e., infantile) over- and undertones of desire,
surprise, and fear. Woman, in the picture language of mythology,
represents the totality of what can be known. The hero is the one who
comes to know. As he progresses in the slow initiation which is life,
the form of the goddess undergoes for him a series of transfigurations:
she can never be greater than himself, though she can always promise
more than he is yet capable of comprehending. She lures, she guides, she
bids him burst his fetters. And if he can match her import, the two, the
knower and the known, will be released from every limitation. Woman is
the guide to the sublime acme of sensuous adventure. By deficient eyes
she is reduced to inferior states; by the evil eye of ignorance she is
spellbound to banality and ugliness. But she is redeemed by the eyes of
understanding. The hero who can take her as she is, without undue
commotion but with the kindness and assurance she requires, is
potentially the king, the incarnate god, of her created world. 56

Possible Officer Warhol reported Earth End times and the call of the Sirens

Dream, symbol. We could then say that today’s sirens are the
reemergence of the weeping, hair-tearing, breast-beating tomb Sirens of
Greece. Or of those forces who, with a cosmic music, procure the
pleasure of death. They are the inextricable presence of distant and
coeval events, of the real and the phantasmagoric. The last
metamorphosis of the Sirens, their last face in history. And our last
rejection of them. Still ambivalent then, indicating both the alarm and
the all clear, Sirens have learned to rise above the feral howling
created by man. Since the first World War, perched atop churches and
city towers, they have been warning of the arrival of a new breed of
death-bearing birds. In the event of disaster sirens start
automatically. Could that be the only way they have left to continue
their chant, whatever it may be, in the stubborn hope that someone might
hear?"

See:
http://northstargallery.com/mermaids...idHistory2.htm