Presented in reverse chronology, this history stretches from the present back to the Fellowship's 1970 founding, and beyond.
(See "Blog Archive" in the sidebar below.) It draws from many sources, including The Fellowship of Friends - Living Presence Discussion, the Internet Archive, the former Fellowship of Friends wiki project, cult education and awareness sites, news archives, and from the editor's own 13-year experience in the Fellowship.

The portrait that emerges stands in stark contrast to sanitized versions presented on the Fellowship's array of
alluring websites, and on derivative sites created by Burton's now-estranged
disciple, Asaf Braverman.

Friday, November 2, 2007

Robert Burton's "Esoteric Keys" reveal the secret

An Allegory of Fortune, Dosso Dossi, ca 1530. J. Paul Getty Museum.

"Purchasing awakening" wrote on the Fellowship of Friends Discussion blog, November 2, 2007:
Rapidly deteriorating brain of our Beloved Teacher produced yet another fart.

“They are giving us so much right now” – I guess he is talking about anti-psychotic drugs he is taking…

This is priceless:
“A marvelous painting by Dosso Dossi at the Getty Museum in Los Angeles, the Allegory of Fortune (1530), portrays a couple wearing one sandal each. Studying this painting was part of our breakthrough this week, in which we confirmed the message of the Cycladic, early Greek, early Christian, early Italian, and Renaissance schools.

The woman’s sandal has four laces, representing the four wordless breaths, while the back of her sandal has six divisions, with five terracotta openings, representing the sequence acting. The man has a square buckle on his sandal, resembling the narrow gate. The small gold heart at the tip of her laces indicates that the nine of hearts has completed its sequence. In the center, she holds with four fingers a Horn of Plenty – another version of the Tree of Life. The gold urn on the left represents the nine of hearts, while its two handles represent short Be and long BE. Like Giovanni Arnolfini in the portrait by Jan Van Eyck, the steward has a red scarf, symbolizing the combustion of the sequence.

At first we could not find the symbol of the four wordless breaths, but then we found it in the middle of the composition, in the woman’s four fingers. Unusually, the painting itself is square.

It will all unfold. They are giving us so much right now.”

"Draco" wrote on the Fellowship of Friends Discussion blog, February 6, 2008:
The sequence was invented by Asaf and Robert. Before the emphasis on Keys, Robert and company came up with a list of 14 ways to presence that students were supposed to use. That was a damp squib. Then there were the keys.

Robert and Asaf decided that a statement in the Conference of the Birds, “Out of thousands of birds that set out on the journey, only thirty birds of the outer world contemplated the face of God in the inner world. ”
Robert has a very literal mind and he took this to mean that there must be exactly 30 specific work ‘I’s and he and Asaf produced a list of them which then were taken to be the esoteric meaning of the number 30 in any religious or spiritual tradition. Then they set to work on the number 6. Initially, the number 6 represented the first 6 of the thirty work ‘I’s. But this was soon forgotten once Asaf got his hands on some wooden cubes on which a student had inscribed the work ‘I’s. Asaf started arranging the cubes in sequences and he and Robert decided that the number 6 in all traditions referred to this sequence. The sequence was announced to the ‘school’ then changed a few times. Then Asaf and Robert decided that just about any symbol in religious tradition must refer to the sequence. Any reference to a beginning’ was to the beginning of the sequence, ‘end’ the end of the sequence, ‘middle’ the middle, etc. It only takes a tiny bit of research to realize that these religious texts are NEVER referring to anything like Robert/Asaf’s sequence in the quotations that are used in the Galleria.

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