Coral Castle: A contemporary mystery

I have just discovered this Megalithic mystery building in Florida, and it is not 3.000 years old but was built in the 1920’s!

The building is Coral Castle, and was the home of Edward Leedskalnin, a Latvian immigrant living in the US. He built this “castle” to serve as his home between 1920-1940, working completely alone. Not only that, but in that period he moved it 10 miles further than its original location, where he completed it and it still stands, being a museum now.

Now get this: He worked only on nights, completely alone and with a lantern for light. The whole structure is made from more than a 1000 tons of coral rock, while individual pieces weigh up to 35 tons.
Again: He worked alone. No cranes, bulldozers, nothing. When he transported it to Homestead he used a borrowed truck, but no crane to load up the monoliths.
The question is obvious: How the hell did he do it?

The theories are many, as expected. Look them up in this article. The highlights:

One story says that some curious neighbors did see how Leedskalnin moved the stones. They say he placed his hands on the stone to be lifted... and sang. Somehow this levitated the great rocks…

…Alternative science investigators suggest that Leedskalnin somehow learned the secret of the 'world grid,' an invisible pattern of energy lines surrounding the Earth which concentrates points of telluric power where they intersect…

And more… and did anyone ask him how he did it? Well, yes:

"I have discovered the secrets of the pyramids. I have found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons."

Cool.

Imagine the implications, blah blah blah,  but the same thing always nags at me: Why did he not reveal his secret?

Why does someone who holds a secret that can change the course of mankind, choose not to reveal? Ego? Military implications? Misanthropy?
Or is the secret exactly that? A secret that is not his to share…

And share he did not. He took it to his grave in 1951.

Oh the things that are hidden, the things we have to learn…

The Curse of the Crying Boy (painting)

This post reminded me of a story I heard about many years ago, and then forgotten: The story of the Crying Boy Paintings..
According to the Urban Legend, partially created by Tabloids in the UK, homes which had the painting, burned to the ground, the fire leaving only the crying boy painting unharmed. The story gets more complicated as there seem to be a lot of paintings (28, see below) depicting crying boys, all of which are associated with fires.

The whole story can be found at the Fortean Times, where it is mentioned that the painter responsible for the paintings is one Giovanni Bragolin, and that “feelings of terror and illness are always associated with his paintings.”

Now, all talk of curses aside, the whole concept behind this story (at least my take on it) is very interesting: That a geometric configuration, even in a two-dimensional depiction (like a painting) can directly affect the environment and, probably, natural laws.

It has been an ancient law of Magic that designs (see Magic or Invocation Circles) can produce effects, invoke entities and generally  wreak inter-dimensional havoc.

A modern version of this (yes, there is Modern Magic and it is called Magick) is the Sigil.
A Sigil is a magical symbol that represents a force, and is used to invoke that force.

But, if a geometric design or a painting can open a portal to outer forces, can this happen by accident? Can I draw a few lines or a landscape, where some unintended formations perform an action? Is it accidental at all? Can a drawing start a fire or propel a UFO?

Besides the psychological effect, do all paintings have some sort of magical action attached to them unintentionally? Magick of course being the name of a science so far advanced it appears to be as magic.

Remember the Caret Designs? I cannot seem to get them out of my head. There is a connection to be found there. To UFOs, propulsion, art, magic, everything.

The only thing we are missing is a place to start.
Opinions welcome, as always.

Alan Moore on Magic: Crappy Science

Image via Wikipedia

 

I came across this great article by Alan Moore, modern-day philosopher and thinker, and I just had to share.
Written for a magazine that died, in it Moore tackles the treacherous topic of magic, in a way that most have not. I will come back to that topic, since I happen to think that magic is just another facet of the Mystery of Life. The connections are there. They just have to be seen and declared out loud.

The article is long and dense, and comes in two parts. Here is some good stuff:

“…This would seem to be the crux: magic, if it is a science, clearly isn’t a particularly well-developed one. Where, for example, are the magical equivalents of Einstein’s General or even Special theories of Relativity, let alone that of Bohr’s Copenhagen Interpretation? Come to that, where are our analogues for laws of gravity, thermodynamics and the rest? Eratosthenes once measured the circumference of the Earth using geometry and shadows. When did we last manage anything as useful or as neat as that? Has there been anything even resembling a general theory since the Emerald Tablet? Once again, perhaps magic’s preoccupation with cause and effect has played a part in this. Our axioms seem mostly on the level of “if we do A then B will happen”. If we say these words or call these names then certain visions will appear to us. As to how they do so, well, who cares? As long as we get a result, the thinking seems to run, why does it matter how this outcome was obtained? If we bang these two flints together for a while they’ll make a spark and set all that dry grass on fire. And have you ever noticed how if you make sure to sacrifice a pig during eclipses, then the sun always returns? Magic is, at best, Paleolithic science. It really had best put aside that Nobel Prize acceptance speech until it’s shaved its forehead.

…Science cannot even properly discuss the personal, so the transpersonal has no chance. These are matters of the inner world, and science cannot go there. This is why it wisely leaves the exploration of mankind’s interior to a sophisticated tool that is specifically developed for that usage, namely art.
If magic were regarded as an art it would have culturally valid access to the infrascape, the endless immaterial territories that are ignored by and invisible to Science, that are to scientific reason inaccessible, and thus comprise magic’s most natural terrain. Turning its efforts to creative exploration of humanity’s interior space might also be of massive human use, might possibly restore to magic all the relevance and purpose, the demonstrable utility that it has lacked so woefully, and for so long. Seen as an art, the field could still produce the reams of speculative theory that it is so fond of (after all, philosophy and rhetoric may be as easily considered arts as sciences), just so long as it were written beautifully or interestingly. While, for example, The Book of the Law may be debatable in value when considered purely as prophetic text describing actual occurrences or states of mind to come, it cannot be denied that it’s a shit-hot piece of writing, which deserves to be revered as such. “

Related articles

• Alan Moore Gets Psychogeographical With Unearthing (wired.com)