Bruno, Space, Art

____ was considering mortality and what comes afterwards and he was willing to consider certain notions in abstract, he’s stubbornly dismissive of non-normative, non-consensus phenomenon.

Potentiality decreases over the course of a life time, and death is an end to one’s potentiality (beyond this point only actuality lies).

(Of course, be sure of one’s commitments.)

Bruno’s notion of loci as a “place” to store subjects/images in the MP suggests to me, as I think about it, the sacred spaces magick seeks to fashion, the liminal points where Otherworldly power and forces can come to bear. The Morrigan has told me not to underestimate this art, praxis, etc., but I have, for insufficient understanding. In one sense, there’s the aesthetic and ambience quality of magical spaces. (And I want to clean and refresh my own space, in general.) At the same time, I feel that these spaces are performative spaces. Aesthetic spaces. Canvases. But this principle extends beyond spacial metaphors and into other conceptual frames: the body, periods, experiences, roles, etc.

Bruno’s wheel and his classical mythical agents/scenes also suggest a kind of alphabet of desire, to draw on AOS, but I think the narrative frame—and memory, adject, and experientiality—says something about memory, desire, will, etc. Bruno also organizes his system via People/Agent > Action > Props/Tools > Locales, etc. He encourages persons to seek their own catalog of images, narratives, etc., as they move themselves. The combinations and elements reflect the adjects he spoke of earlier. You create combinations of scenes, actors, and actions, etc., intersecting with others, after a point.

Image: The Sphinx, or, The Caresses, by Fernand Khnopff

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