October 29, 2023October 30, 2023 Mago Work

(Meet Mago Contributor) Alison Newvine

Alison Newvine is psychotherapist, singer, songwriter and a nature-loving, queer creative. She lives on Ohlone land in the San Francisco Bay Area. Her psychotherapy and consultation practice centers around trauma healing, spiritual inquiry, psychedelic integration, and empowerment work with women, gender expansive folks, couples and the queer community. Her writing is featured in Mago Books Celebrating Intercosmic Kinship of the Goddess as well as Pain Perspectives: Finding Meaning in the Fire, and Wounded Feminine: Grieving with Goddess‘ published by Girl God Books. She is a contributor to the healthcare website psychedelic.support, where she weaves Goddess themes and mythologies into articles exploring mental health and psychedelic-assisted therapy. Along with her band, Spiral Muse, she writes and produces music dedicated to the Goddess and to sacred feminist values and visions. Their newest album, “Fire of Hope,” explores themes of rebirth and healing. You can learn more about her psychotherapy and consultation services at alisonnewvine.org and you can find the music of Spiral Muse at spiralmuse.band.

1 thought on “(Meet Mago Contributor) Alison Newvine”

Sara says:

January 30, 2024 at 9:25 AM

beautiful but bears are very much in their bodies this time of year – mothers give birth in January and they are awake and busy nurturing their cubs… maybe not a spirit time?

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(Poem) Goodbye Alaska by Francesca Tronetti

Alaska from World Atlas The largest state in America is empty Its vast expanses housing only animals No people on the streets of Juno or Nome The port city of Anchorage is quiet In the past an epidemic in Alaska brought out heroes People risking their lives to save innocent children Pulling together across a vast wilderness, fighting weather It was a time of heroes, remembered through endurance But not in this Alaska, not here, not now Now people scream about liberty and rights Freedom to not breathe through cotton masks To cough, hack, and spit on those who confront them Another state’s worth of people have passes Families are mourning for the living and the dead The recovered bear lifelong effects of their struggle Missing fingers or hands, damaged bodies forever How much longer will this go on, will we suffer Have we reached the point where we are so overwhelmed That we can no longer take in the horrible news Has life with Covid become the new normal Is this the future of our America, Covid forever Random border closings when a new variant emerges ICUs overflowing, schools closed in sequence And the lights have gone out in Alaska (Meet Mago Contributor) Francesca Tronetti, Ph.D. https://www.magoism.net/2018/11/meet-mago-contributor-rev-francesca-tronetti-ph-d/
(Poem) Power of Feminism by Alshaad Kara

Image from Unplash It is to stand for what is right.There is no usage of moralitySince all starts in the wombOf a woman to mother earth.The spirit of this truthIs embodied in each oneOn every single day of our lives. https://www.magoism.net/2023/12/meet-mago-contributor-alshaad-kara/
(Visual Art) In Her Image and Likeness By Dr Lila Moore

Invocation of the Magical Woman copyrighted by Dr. Lila Moore A woman is seen holding an object in the shape of the ancient Egyptian mirror of the goddess Hathor. She is walking forward in space-time throughout the volatile elements of nature. She casts magick circles with her mirror which she points upwards towards the four directions and the horizon. In ancient Egypt, ‘the goddess Hathor’s mirroring disk was cosmologically perceived as reflecting the light of the sun and the moon, the two divine eyes, and the heavenly sight and insight of all suns and solar deities’. Although Hathor’s mirror was utilised for daily cosmetic purposes, it also had a ritualistic role that attributed it with transcendent powers. Thus, the mirror in a ritualistic context transcends death and reflects a vision of the infinite. Hathor’s Mirror as a magical instrument bestows the devotee with the gift of insight, deep and cosmic. She sees far and wide, unobstructed by the terrestrial limits of physical sight and motion in space or time. She looks into the future and imagines it, shaping it with her timeless reflection, her transcendent likeness. In infinite circles she glides in tune with cosmic rhythms, the gravitational push and pull of heavenly bodies and tides. Her motion triggers progress, catalyses cultural shifts, and the philosophical and scientific discoveries of the riddles of Creation. Evolutions burst into life with the movement to become in her image and likeness. About the Video and Artwork: Artist Statement The video Triptych of the Elements is an excerpt from Invocation of the Magical Woman, Digital Poems of Ritual Magic. It utilises current digital technologies as means to contemplate the need to mediate our relationships with nature, science, technology, art, philosophy, and occult magic. The mediator that this artwork presents is a woman artist who interlinks the present with the ancient past and the far future. She is not one woman but a noetic-avatar comprised of many women, a dimension of networked consciousness. Her name is Urania denoting her art, magic and science. This artwork evolves with her. https://vimeo.com/317716323 (Meet Mago Contributor) Dr. Lila Moore. Reference Richter, Barbara A. (2016), The Theology of Hathor of Dendera: Aural and Visual Scribal Techniques in the Per-Wer Sanctuary, Brown University, Atlanta Georgia: Lockwood Press.
(Essay 6) blackbird and a pear tree by Lucia Chiavola Birnbaum

A family story told in art, names, places, denied cultures, black and sensual madonnas, diversity of beliefs, visionary and healing Santa Lucia of Sicily After a week on the top coast of Sicily, Adam and Josie had to go back to school; their mother Sabrina had to go back to her job caring for an East Bay town as city manager, their father Peter had to go back to his job, caring for the earth as an environmental lawyer. Their kids, my great grandkids, had to go back to school. One of their genetic branches is Celt. Josie, who looks like a little French school girl, kept a journal while on the trip. Adam, whose middle name is Murphy, said very seriously, “Sicily is very historic!” Marc and Nancy went off to France where they honeymooned in Paris in the 1970s . . . this time as parents of Matt , Nicolas and Nicki, and grandparents of new baby, Charlotte Kimura Birnbaum Bald.
(Video 1) Maternal Gift Economy: Breaking Through, 2020 Virtual Conference by Genevieve Vaughan

[Maternal Gift Economy: Breaking Through stands for a series of bi-weekly ongoing virtual salons. These salons are preceded by the virtual conference held on November 27, 2020.] [Words of Invitation] Drawing on Maternal Gift Economy theory, the suppressed wisdom of women, and the traditions and ethics of Indigenous societies, this integrated programme of presentations sponsored by the International Feminists for a Gift Economy Network will offer new insights, perspectives, and challenges to the underlying market-based mentality of the dominant world order. In this time of crisis and systemic upheaval, the model of the Maternal Gift Economy on which our survival depends at the beginning of life, is being revealed and celebrated. The interdependence of all living beings can now be made visible and honored. Mother Earth provides the model of an economy based on gifting that we receive as young children from our nurturers—before we are alienated into market exchange. We must make the transition from the exploitive Euro-American patriarchal/dominating and capitalistic ideology to a gift-based economy and culture grounded in the values of nurturing and care rather than competition and greed. We invite you to join us in exploring the possibilities in this series of presentations and dialogues that bring together those who have been laboring to articulate the principles of the Maternal Gift Economy, protect Indigenous values, and practice peaceful and just community building. The time is now for all humans to cooperate rather than compete. Please join us! Video Conference is featuring Darcia Narvaez, Mary Condren, Heide Goettner-Abendroth, Sherri Mitchell, Dr. Vandana Shiva, and Genevieve Vaughan and moderated by Letecia Layson. https://www.youtube.com/watch?v=2gEQHHHvMoM For information about speakers, see here. For more information on the Maternal Gift Economy, see here. https://www.magoism.net/2014/06/meet-mago-contributor-genevieve-vaughan/
(Mago Almanac Planner Year 5 Excerpt 1) 13 Month 28 Day Magoist Calendar by Helen Hye-Sook Hwang

[Author’s Note: This and its sequences are a newly added portion in the Mago Almanac Planner Year 5, equivalent to the Gregorian Year 2022. Because the Budoji did not explain further about time units smaller than 1 day, I did not follow through some possible implications in previous Mago Almanac volumes. Next year’s Mago Almanac Planner for Personal Journey: 13 Month 28 Day Calendar Year 5 or 5919 MAGOMA ERA is forthcoming in Mago Bookstore (October 25, 2021). PDF version is available for purchase.] Angbuilgu (仰釜日晷 Concave Sundial) dated in 1434 of Joseon Dynasty Korea (13 horizontal lines are engraved, indicating 24 seasons and 7 vertical lines indicating times of a day) UNITS OF TIME MEASURE At the half point of the eleventh Sa, there is one Gu of the big Hoe (Eve of the first day of the month). Gu is the root of time. Three hundred Gu makes one Myo. With Myo, we can sense Gu. A lapse of 9,633 Myo-Gak-Bun-Si makes one day. This is of Chesu (Physical Number), 3, 6, 9. By and by, the encircling time charts Medium Calendar and Large Calendar to evince the principle of numerology. 1 Gu (approx. 3.71 miliseconds) refers an infinitesimal discrepancy that occurs every eleven years or every ten and a half years precisely. Because Gu (a noncognitive time unit) is a time too small to count, Gu can only be treated as 1 Myo, equivalent to 300 Gu. As shown in the below table, Myo is still a tiny unit of time. 9,633 Myo equals 1 day, which is 288,990 Gu (300×9633=288,990). Because of this, there will be one extra day (9,633 Myo) every 31,788,900 years. This means, the Magoist Calendar has another (the third) leap day every 31,788,900 years (11 x 300 x 9,633). 31,788,900 years is a long time, which we will presumably not take into consideration for the Magoist Calendar dating 3898 BCE (the beginning year of Goma’s Danguk confederacy) that we are under. Because the units of Gak, Bun, and Si are not further explained in the Budoji,[1] it is difficult to designate what they indicate. Although the terms of Gak, Bun, and Si are familiar to moderns as time indicators, what each unit indicates is unknown. Given that 9,633 Myo (Gak-Bun-Si) equals 1 day (1 Il 日 일), it is conjectured that Gak-Bun-Si refers to time segments equivalent to hours, minutes, and seconds in today’s 24 hour a day scheme. 1 Myo is approximately 1.115 seconds, as 9,633 Myo is approximately 8,640 seconds. If we project the time of 1 day into a circle, the whole circle indicates 1 day. Doing this implies that time/space is inseparable in a circular notion of timespace. To specify a size of time smaller than 1 day, we can first divide the circle into two halves. Let’s call the half circle or a half day A. A (equivalent to 12 hours) equals 4,816.5 Myo or 1,444,950 Gu. Then, we divide the half circle into two halves. And let’s call it B. B refers to a quarter of 1 day or B (equivalent to 6 hours), which equals 2,408.25 Myo or 722,475 Gu. Likewise, C refers to one eighth of 1 day, equivalent to 3 hours), which equals 1,204.125 Myo or 361,237.5 Gu. A subsequent division by 2 aligns with the Physical Numbers, 3, 6, 9 in the digital root.[2] Given one sidereal day to be 23 hours, 56 minutes, and 4.0916 seconds or 23.9344696 hours, 1 A would be 11 hours, 58 minutes, and 2.0458 seconds. 1 B would be 5 hours, 59 minutes, and 1.0229 seconds. 1 C would be 2 hours, 59.5 minutes, and 0.51145 seconds. The circle represents the sidereal day of 23 hours, 56 minutes, and 4.0916 seconds. Note that the time divisions of 1 day (A, B, and C) follow the order of 1, 2, 4, and 8. Precisely, this is what the Magoist Genealogy of the first three generations that I illustrated above and elsewhere: The Magoist Cosmogony recounts that from one (Mago, the Great Mother) born are the two daughters (Gunghui and Sohui), which makes the triad. From the two daughters born are the four twins, which makes eight. This is observed in meiosis (cell division for sexually reproducing organisms) from one to two and to four and to eight and so forth. The Mago triad and the eight granddaughters are called Nine Magos.[3] The calendar is not just an indication of times or seasons. It is an indication of the life-organizing principle. The Magoist Calendar is a summary of cosmic and planetary life systems. From a microcosmic entity to a macrocosmic universe, all runs by the same force of Sonic Numerology, the metamorphic reality of WE/HERE/NOW. Beings, time, and space are the three inseparable aspects of one reality.(To be continued) [1] It is indeed regretful that the sequence book of the Budoji, Yeoksiji (Book of Calendar and Time), that treats calendar and time has been lost. We have only the Budoji available, the first book of 15 books of the Jingsimnok (Record of Cleansing Mind/Heart), a compendium of 3 volumes that have 5 books in each. Doubtless that the Yeoksiji (Book of Calendar and Time), the third book of Volume 1, would detail the rest of time measures and sub-calendars. [2] D would refer to one sixteenth of 1 day, equivalent to 1.5 hours, which equals 602.0625 Myo (3 in the Digital Root) or 180,618.75 (9 in the Digital Root). If we divide one eighth of 1 day by 3, it is one twenty-fourth of 1 day or E (equivalent to 1 hour). A total of 24 segments. E equals 401.375 Myo or 120,412.5 Gu. These numbers do not follow the suit of 3, 6, and 9, Chesu or Physical Numbers. 401.375 is 2 in the Digital Root and 120,412.5 is 6 in the Digital Root. [3] See this book, 112. https://www.magoism.net/2013/07/meet-mago-contributor-helen-hwang/
(Poem) War and Bliss by Vajra Ma

Mother, here is war here is my fear of war here is my horror, my cringing hands my despairing lips that wail “I am helpless Look what they do to me.”
(Poem from Refuge/Solstice) Winds of Change by Sara Wright

Photo by Sara Wright Hemlock hidingin the gorgeSpring seepingNeedled twigsGreening. Abandoned nestWaxing lightFledglings soarSummer’s dawning. Moon summonedby tidesblossomingpearl loosinggolden pollen. Sun slipping lowbittersweet changeabrupt reversalflips flamingorange round. Postscript: I think the young hemlock tree demonstrates how the waxing of the light has been accomplished before the summer solstice and before summer begins. The pines are raining needles, the maples spiral wings – both will transform; some enriching the earth. Others will sleep away three seasons in rich moist ground until next spring… At the solstice: Gratitude for Greening –For every tree and plant.For every bird who sings…For the sun’s golden lightFor Refuge in the forestFor flowing river waters.For flower fragrant nights. https://www.magoism.net/2014/12/meet-mago-contributor-sara-wright/
(Essay 3) The Power of Metaphor – Spelling Ourselves, Our World by Glenys Livingstone Ph.D.

This essay is part 3 of an edited excerpt from the Introduction to the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion, and was originally part of her doctoral thesis, The Female Metaphor – Virgin, Mother, Crone – of the Dynamic Cosmological Unfolding: Her Embodiment in Seasonal Ritual as Catalyst for Personal and Cultural Change. female metaphor: a triple spiral window at Winter Solstice dawn I propose that “She” – the Female Metaphor – in her three aspects, whom I have unfolded in thesis and in ceremonial practice, and documented in the pages of my book, may be understood as a dynamic of Ultimate Creativity – a dynamic innate to being, that may enable both women and men to participate more fully in the life of their own organism, and thus in the life of the Larger Organism/Subject of whom we are part, in whom we participate. I propose that to participate in the year long process of seasonal ceremony and celebration of this cosmic metaphor for Creativity, with contemplation and consciousness, may enhance: (i) love of self, in a willingness to abide with the beauty and integrity of the particular differentiated self, and recognizing that this self is not separate from the Large Self who is Gaia (this is the work of the Young One/Virgin aspect, celebrated particularly in the light part of the annual cycle). (ii) love of other, in a deep sense of relationship and communion with other beings, the planet and the cosmos – knowing both one’s “support for” and how one is “supported by” (this is the work of the Mother aspect, celebrated particularly at the Solstices). (iii) love of All-That-Is, in the understanding of transformation as not only possible, but indeed, as intrinsic to the process of being – enabling one’s more joyful participation in this intrinsic creativity (the work of the Old One/Crone aspect). I propose that to participate in this cyclical Metaphor changes how one relates to loss; there is more willingness to let go, a trust in the process of dissolution and return. As one comes to identify with the Larger Self, and recognize one’s place in the scheme of things, it turns around egoic hubris that would indulge in holding on, usually manifesting in behaviour destructive to self, other and planet. Apart from obvious personal and interpersonal conflict that such hubris may generate, there is also wanton “therapeutic” consumerism generated on a large scale, which is symptomatic of disregard for Earth. I do not mean to imply that when egoic hubris is let go of then there is no conflict, I mean simply that the source of conflict may then more likely be the creative tension of being alive, rather than a desperate unwillingness to accept change. Spring Equinox Return I propose that participation in this Metaphor – She – changes how one relates to this fleshly physical life, especially if one has had uncertainties about the value of it. Spiritualities of the present cultural context frequently stress the impermanence of this life, and thus devalue it; but in Her cosmology as presented in my work of PaGaian Cosmology, this life – manifest physical reality – is celebrated equally, and its perdurance becomes more obvious. When one is able to grasp something of the dynamic of Cosmogenesis from the earliest stages of the Cosmic story as we currently understand it, life’s perdurance seems as insistent as the void. It is true that one does not personally perdure, but one comes to know participation in a process/Process that does. For some people that is not sufficient, to be mere specks upon the road of a greater journey, but that seems to be the situation; and the “specks” do create the journey. The ceremonial celebration of the seasonal transitions may be an embodied reiteration of this truth, and enhance a willingness to participate creatively in this life. © Glenys Livingstone 2019 References: Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion.Lincoln NE: iUniverse, 2005. Livingstone, Glenys. The Female Metaphor – Virgin, Mother, Crone – of the Dynamic Cosmological Unfolding: Her Embodiment in Seasonal Ritual as Catalyst for Personal and Cultural Change.Ph.D. thesis, University of Western Sydney, 2002. Starhawk. The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess. SF: Harper and Row, 1990. Swimme, Brian and Berry, Thomas. The Universe Story.NY: HarperCollins, 1992.
(Essay 1) Divining the Masculine by Bart Everson

[This essay was originally published in the book, Finding the Masculine in Goddess’ Spiral: Men in Ritual, Community, and Service to the Goddess (2016, Immanion Press)]. I was raised in a tradition that glorified a masculine image of the divine. The church fathers further stipulated that although this father-god loved us, we did not deserve his love. He would condemn us all to eternal torment for our failings. His son embodied a different sort of masculine ideal, one of love and forgiveness and sacrifice, but only within the context defined by the father-god. Our sacred text was held to be inerrant, the only source for correct thinking. Salvation was available only through faith in these doctrines; all other paths were invalid.
(Video) Ways to walk with ancestral family patterns by Cynthia Tom

https://www.youtube.com/watch?v=eXWQr3D4gM8 Cynthia walks us thru her Hungry Ghosts art installation for 2018 Dia de Los Muertos @SOMArts Cultural Center, San Francisco. Curated by RioYanez and Carolina Quintania, created by Rene Yanez. Cynthia shares how she is healing herself by unraveling and exploring her ancestral family patterns of trauma. Colonization, patriarchy, extreme discrimination. She has learned that her self-doubt and depression are not hers, but learned behavior that can be unlearned. She shares this thru her art https://www.cynthiatom.com and art based healing workshops like https://www.aplaceofherown.org Https://www.ateliercynthiatom.com for merchant as meditation. https://www.magoism.net/2021/07/meet-mago-contributor-cynthia-tom/
(Prose & Poem) Surabhi and Nandini by Susan Hawthorne

Kamadhenu, The Wish-Granting Cow Made in Rajasthan, India c. 1825-55 Artist/maker unknown, India, Rajasthan, Jodhpur or Nathadwara Opaque watercolor and metallic pigments on paper 5 x 5 inches (12.7 x 12.7 cm). Wikimedia Commons. I have been studying Sanskrit for a little more than decade. I took it up because I love ancient languages. But more than that, I wanted to have direct access to myth and poetry, to be able to translate these for myself and give them my own spin. I discovered the joy of this some thirty years ago when learning Ancient Greek. This year we have been translating the Raguvamsha of Kalidasa. The story concerns a king and his wife who are having trouble conceiving a child. It doesn’t sound like much of a story for a feminist take informed by lesbian-centric thinking. But that is until you take into account the cow who was previously disrespected because the king was preoccupied with other things and failed to act appropriately. In order to reverse this he has to spend time doing her bidding, protecting her and spending all day and night with Nandini for three weeks. I have been writing about mythic cows since 2009 when the figure of Queenie came to me. She is a universal cosmic cow with knowledge that goes back through the ages. She claims to have created the universe and her evidence is contained in language: galaxy a word that is derived from the Greek for milk; indeed the Milky Way. While Queenie does not make an appearance in this poem, any poem I write about cows has her looking over my shoulder. In the front of my book Cow (2011) you can find the etymological connection between Gau (Skrt: cow) and Queen (a word derived from Skrt: cow who is a woman rich in cows). Surabhi is a wish-fulfilling cow and Nandini is her daughter. Surabhi is also referred to as Kamadhenu. What I like about the story is that there are no temples to her, rather it is the cow herself who is sacred. It is an interior worship. In my retelling in this poem, I decided not to tell it forwards but instead backwards, as you would expect from a lesbian. The section I am telling comes from the end of Canto 1 and the beginning of Canto 2 (backwards). The wish-fulfilling cow and her calf. Her body contains images of other Hindu deities.Photo © Susan Hawthorne, 2019 Surabhi and Nandini it’s a story that can be told in reverse how we orbit the cosmic cow to solve our aridity her udder full spilling milk across the sky her dugs as big as jugs death is an event on the horizon when Nandini enters the Himalayan cave her bellow reverberates in the hollow a sound chamber of rumbling echoes twenty-one days we sleep with her waiting on this wish-fulfilling cow day and night the interstellar space between her horns is a fissure to other worlds at dusk in the space between light and dark she shines red like the star on the forehead of Taurus Rohini visible in between worlds like the sound of the wind-fluting bamboo singing life walking in the apron of the forest our eyes dry from fasting flowering trees shower us with falling blossoms birdsong echoes as the vines hold fast to the trunks there are many acts of worship for a cow offer her sweet grasses and scratch her red hide wave away the flies that settle on her wide shoulders become her shadow standing stopping when she does move on sit down drink water when she does by these means you will follow the way of the cow follow in her dusty wake her four dugs are the four oceans filled with unending seas of milk This poem is from Susan Hawthorne’s forthcoming collection of poems, The Sacking of the Muses which will be published in 2019. (Meet Mago Contributor) Susan Hawthorne.
(Book Excerpt 3) On the Wings of Isis: Reclaiming the Sovereignty of Auset, ed. by Trista Hendren et al.

Agency in the Face of Adversity Olivia Church Aset is a Goddess (a Netjeret in ancient Egyptian)with an extraordinary history, reaching back to at least the 5th Dynasty of Egypt’s Old Kingdom over 4400 years ago, so far as written words can tell.25 Aset wove her magic through ancient Egyptian culture for millennia, before the Greeks and Romans came to adopt her into their own religious systems, naming her “Isis”. The image we have of her today is highly influenced by this Graeco-Roman form, which is in part because this period of time (332 BCE – 395 CE) was when her cults were at their most widespread both within and beyond Egypt. On the other hand, however, such reinterpretations have perpetuated a Mediterranean portrait of Aset, following the antiquarian trend of claiming Egyptian heritage for Eurocentric narratives of history. It is therefore essential that we collectively reclaim Aset’s North African Egyptian origins in order to restore both her sovereignty as a Goddess and the sovereignty of North African cultural heritage. For this reason, I will refer to her as Aset for the remainder of this article, rather than Isis. Aset is a Goddess who has endured through literally thousands of years’ worth of cultural exchanges. She has survived beyond the closure of her ancient temples and proves to be one of the most beloved Goddesses revived from the ancient world today. Aset’s popularity stems not only from her magical allure, exotic beauty, or shining regalia. She remains popular today due to her ability to empathise with the human condition, as well as her indominable sense of autonomy and personal agency. According to her ancient mythology, Aset was not a Goddess who surrendered to the great woes thrown her way: To modern readers at least, it is clear that Aset takes control of her situation and demonstrates how to handle challenges like a queen! It is often said that knowledge is power, and this is certainly true according to ancient Egyptian religion and mythology. Aset was destined to become the divine queen of Egypt through her marriage to the God Wesir (known to the Greeks as Osiris), which conferred upon her significant authority and power;26 however, though a modern feminist reading one could suggest that Aset was not content to possess power which was reliant upon her marriage to a king. Instead she sought sovereignty in her own right by becoming skilled in magic and rich in wisdom. As a result, according to the Coffin Texts, Aset became renowned as a Goddess who knew everything “in the sky and on the earth.”27 The one thing that she did not know, however, was the true name of the Creator God Ra, a fact of which she was considerably aware. The myth of Ra’s Secret Name describes how the God kept his true name hidden from all other creations in existence, to prevent any from causing him harm.28 The Egyptians believed that written and spoken words held great power and could be used to manipulate things in real life; this extended to someone’s name, their ren, which was considered a living part of them, as much as their physical or spiritual bodies.29 This meant that the possessor of Ra’s true name would have the power to manipulate the Creator God himself, for good or for ill. Without possession of his true name, no creature could harm him, except from himself. Aset’s intentions were not to cause the Creator harm, but to acquire his name, and the power it provided. A spell recorded in the Turin Magical Papyrus tells us how Aset, intent on obtaining this secret name, concocted a plan to trick Ra into revealing it willingly to her.30 Her plan was thus: To covertly collect some of Ra’s spittle as he slept and magically form a serpent with it. The serpent would then bite Ra necessitating that Aset come to his aid offering to heal him. In turn, she would cry out, if only she knew the name of the being which had harmed him! Inevitably Aset’s plan succeeded. Ra screamed in agonising pain following the serpent’s bite, whereupon the Goddess ran to his side offering to help him. Ra provided numerous alternative epithets to no avail. It became clear to him that he had no other option but to concede to Aset’s request.31 The tale ends with Aset learning his secret name, obtaining its power, and restoring Ra to health. Hereafter, she is known by the title, ‘weret hekau’ or ‘Great of Magic’.32 This myth demonstrates how, from the very beginning, Aset sought power for herself through the pursuit of knowledge. She fixed her attention upon her goal and set to achieve it by any means necessary. Her prioritisation of knowledge, above other forms of power, would prove to be invaluable to her throughout the rest of her mythology. She chose to empower herself, not only by her regal title, but in her embodied choices. The story of Aset and Wesir is a famous one, which cannot be explored in full detail here; however, a summary of key moments serve to provide a portrait of Aset’s sense of agency. The first section of stories belonging to this mythic cycle survive through the combination of the Egyptian Stela of Amenmose and the retellings of the Greek authors, Plutarch and Diodorus Siculus.33 The myth unfolds with Aset and Wesir ruling as successful divine monarchs over Egypt. Their brother Sutekh (Greek Seth), God of the desert and thunderstorms,34 was jealous of Wesir’s good fortune, and from the Middle Kingdom onwards, Egyptian sources assert that Sutekh was responsible for the death of Wesir.35 The most common method recorded is that Sutekh tricked Wesir into entering a coffin whereupon he sealed the lid and cast him into the Nile to drown.36 Aset was stricken with grief. She had just lost her beloved in a devastating act of violence at the hands of her own family. The story goes on to describe how Aset fled in search for …

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(Slideshow) Beltaine Goddess by Glenys Livingstone, Ph.D.

Tara, Hallie Iglehart Austen, p.122 On November 7th at 22:56 UTC EarthGaia crosses the midpoint in Her orbit between Equinox and Solstice. In the Southern Hemisphere it is the Season of Beltaine – a maturing of the Light, post-Spring Equinox. Beltaine and all of the light part of the cycle, is particularly associated with the Young One/Virgin aspect of Goddess, even as She comes into relationship with Other: She remains Her own agent. Beltaine may be understood as the quintessential annual celebration of Light as it continues to wax towards fullness. It is understood to be the beginning of Summer. Here is some Poetry of the Season: Earth tilts us further towards Mother Sun, the Source of Her pleasure, life and ecstasy You are invited to celebrate BELTAINE the time when sweet Desire For Life is met – when the fruiting begins: the Promise of early Spring exalts in Passion. This is the celebration of Holy Lust, Allurement, Aphrodite … Who holds all things in form, Who unites the cosmos, Who brings forth all things, Who is the Essence of the Dance of Life. Glenys Livingstone, 2005 The choice of images for the Season is arbitrary; there are so many more that may express this quality of Hers. And also for consideration, is the fact that most ancient images of Goddess are multivalent – She was/is One: that is, all Her aspects are not separate from each other. These selected images tell a story of certain qualities that may be contemplated at the Seasonal Moment of Beltaine. As you receive the images, remember that image communicates the unspeakable – that which can only be known in body – below rational mind. So you may open yourself to a transmission of Her, that will be particular to you. https://www.youtube.com/watch?v=SKGRoVjQQHY Aphrodite 300 B.C.E. (Hallie Iglehart Austen, The Heart of the Goddess). This Greek Goddess is commonly associated with sexuality in a trivial kind of way, but She was said to be older than Time (Barbara Walker p.44). Aphrodite as humans once knew Her, was no mere sex goddess: Aphrodite was once a Virgin-Mother-Crone trinity – the Creative Force itself. The Love that She embodied was a Love deep down in things, an allurement intrinsic to the nature of the Universe. Praised by the Orphics thus: For all things are from You Who unites the cosmos. You will the three-fold fates You bring forth all things Whatever is in the heavens And in the much fruitful earth And in the deep sea. Vajravarahi 1600C.E. Tibetan Tantric Buddhism (Hallie Iglehart Austen, The Heart of the Goddess). A Dakini dancing with life energy – a unity of power, beauty, compassion and eroticism. Praised as Mistress of love and of knowledge at the same time. Tara Contemporary – Green Gulch California ,Tibetan Buddhist. (Hallie Iglehart Austen, The Heart of the Goddess). “Her eroticism is an important part of her bodhisattvahood: the sweetpea represents the yoni, and she is surrounded by the sensual abundance of Nature. One of Tara’s human incarnations was as the Tibetan mystic Yeshe Tsogyal, “who helped many people to enlightenment through sacred sexual union with her”. – Ishtar 1000 B.C.E. Babylon (Hallie Iglehart Austen, The Heart of the Goddess). Associated with passionate sexuality (and with Roman Goddess Venus) – which was not perceived as separate from integrity and intelligence … praised for Her beauty and brains! Her lips are sweet, Life is in Her mouth. When She appears, we are filled with rejoicing. She is glorious beneath Her robes. Her body is complete beauty. Her eyes are total brilliance. Who could be equal to Her greatness, for Her decrees are strong, exalted, perfect. MESOPOTAMIAN TEXT 1600 B.C.E. Artemis 4th Cent.B.C.E. Greece. (Hallie Iglehart Austen, The Heart of the Goddess) – classic “Virgin” image – wild and free, “Lady of the Beasts”, Goddess of untamed nature. As such, in the patriarchal stories She is often associated with harshness, orgiastic rituals but we may re-story “wildness” in our times as something “innocent” – in direct relationship with the Mother. She is a hunter/archer, protector, midwife, nurturing the new and pure essence (the “wild”) – in earlier times these things were not contradictory. The hunter had an intimate relationship with the hunted. Visvatara and Vajrasattva 1800C.E. Tibetan Goddess and God in Union: it could be any Lover and Beloved, of same sex. Image from Mann and Lyle, “Sacred Sexuality” p.74. Sacred Couple –Mesopotamia 2000-1600 BCE “Lovers Embracing on Bed”, Inanna Queen of Heaven and Earth, Diane Wolkstein and Samuael Noah Kramer. Represents the sacred marriage mythic cycle – late 3rd and into 4th millennium B.C.E. (See Starhawk, Truth or Dare). This period is the time of Enheduanna – great poet and priestess of Inanna. Xochiquetzal 8th century C.E. Mayan (Hallie Iglehart Austen, The Heart of the Goddess). Her name means “precious flower” – She is Goddess of pleasure, sexuality beauty and flowers. Sometimes represented by a butterfly who sips the nectar of the flower. “In ancient rituals honouring her, young people made a bower of roses, and, dressed as hummingbirds and butterflies they danced an image of the Goddess of flowers and love.” Her priestesses are depicted with ecstatic faces. (called “laughing Goddesses” !!) She and Her priestesses unashamedly celebrated joyful female sexuality – there is story of decorating pubic hairs to outshine the Goddess’ yoni. https://www.magoism.net/2013/06/meet-mago-contributor-glenys-livingstone/ REFERENCES: Iglehart Austen, Hallie. The Heart of the Goddess. Berkeley: Wingbow, 1990. Mann A.T. and Lyle, Jane. Sacred Sexuality. ELEMENT BOOKS LTD, 1995. Starhawk. Truth or Dare. San Fransisco:Harper and Row, 1990. Walker, Barbara. The Woman’s Encyclopaedia of Myths and Secrets. San Francisco: Harper and Row, 1983. Wolkstein,Diane and Kramer, Samuel Noah. Inanna Queen of Heaven and Earth. NY: Harper and Rowe, 1983. The music for the slideshow is “”Coral Sea Dreaming” by Tania Rose.
(Essay) The Emergence celebrated at Spring Equinox by Glenys Livingstone Ph.D.

The Spring Equinox Moment occurs September 21-23 Southern Hemisphere, March 21-23 Northern Hemisphere. The full story of Spring Equinox is expressed in the full flower connected to the seed fresh from the earth; that is, it is a story of emergence from the dark, from a journey, perhaps long, perhaps short, through challenging places. The joy of the blossoming is rooted in the journey through the dark, and an acknowledgement of the dark’s fertile gift, as well as of great achievement in having made it, of having returned. Both Equinoxes, Spring and Autumn, celebrate this sacred balance of grief and joy, light and dark, and they are both celebrations of the mystery of the seed. The seed is essentially the deep Creativity within – that manifests in the Spring as flower, or green emerged One. the full story: the root and the flower As the new young light continues to grow at this time of Spring, it comes into balance with the dark at Spring Equinox, or ‘Eostar’ as it may be named; about to tip further into light when light will dominate the day. The trend at this Equinox is toward increasing hours of light: and thus it is about the power of being – life is stepping into it. Earth in this region is tilting further toward the Sun. Traditionally it may be storied as the joyful celebration of a Lost Beloved One, who may be represented by the Persephone story: She is a shamanic figure who is known for Her journey to the Underworld, and who at this time of Spring Equinox returns. Her Mother Demeter who has waited and longed for Her in deep grief, rejoices and so do all: warmth and growth return to the land. Persephone, the Beloved Daughter, the Seed, has navigated the darkness successfully, has enriched it with Her presence and also gained its riches. Eostar/Spring Equinox is the magic of the unexpected, yet long awaited, green emergence from under the ground, and then the flower: this emergence is especially profound as it is from a seed that has lain dormant for months or longer – much like the magic of desert blooms after long periods of drought. The name of “Eostar” comes from the Saxon Goddess Eostre/Ostara, the northern form of the Sumerian Astarte[i]. The Christian festival in the Spring, was named “Easter” as of the Middle Ages, appropriating Goddess/Earth tradition. The date of Easter, which is set for Northern Hemispheric seasons, is still based on the lunar/menstrual calendar; that is, the 1st Sunday after the first full Moon after Spring Equinox. In Australia where I am, “Easter” is celebrated in Autumn (!) by mainstream culture, so we have the spectacle of fluffy chickens, chocolate eggs and rabbits in the shops at that time. There are other names for “Eostar” in other places …the Welsh name for the Spring Equinox celebration is Eilir, meaning ‘regeneration’ or ‘spring’ – or ‘earth’[ii]. In my own PaGaian tradition, the Spring Equinox celebration is based on the Demeter and Persephone story, the version that is understand as pre-patriarchal, from Old Europe. In the oldest stories, Persephone has agency in Her descent: She descends to the underworld voluntarily as a courageous seeker of wisdom, and a compassionate receiver of the dead. She represents, and IS, the Seed of Life that never fades away. Spring Equinox is a celebration of Her return, Life’s continual return, and thus also our personal and collective emergences/returns.We may contemplate the collective emergence/returns especially in our times. I describe Persephone as a “hera”, which of old was a term for any courageous One. “Hera” was a pre-Hellenic name for the Goddess in general[iii]. “Hera” was the indigenous Queen Goddess of pre-Olympic Greece, before She was married off to Zeus. “Hero” was a term for the brave male Heracles who carried out tasks for his Goddess Hera: “The derivative form ‘heroine’ is therefore completely unnecessary”[iv]. “Hera” may be used as a term for any courageous individual: and participants in PaGaian Spring Equinox ceremony have named themselves this way. The pre-“Olympic” games of Greece were Hera’s games, held at Her Heraion/temple[v]. The winners were “heras” – gaining the status of being like Her[vi]. At the time of Spring Equinox, we may celebrate the Persephone, the Hera, the Courageous One, who steps with new wisdom, into power of being: the organic power that all beings must have, Gaian power, the power of the Cosmos. This Seasonal ceremony may be a rejoicing in how we have made it through great challenges and loss, faced our fears and our demise (in its various forms), had ‘close shaves’ – perhaps physically as well as psychicly and emotionally. It is a time to welcome back that which was lost, and step into the strength of being. Spring Equinox/Eostar is the time for enjoying the fruits of the descent, of the journey taken into the darkness: return is now certain, not tentative as it was in the Early Spring/Imbolc. Demeter, the Mother, receives the Persephones, Lost Beloved Ones, joyously. This may be understood as an individual experience, but also as a collective experience – as we emerge into a new Era as a species. Thomas Berry and Brian Swimme speak of the ending of the sixty-five million year geological Era – the Cenozoic Era – in our times, and our possible emergence into an Ecozoic Era. They describe the Ecozoic Era as a time when “the curvature of the universe, the curvature of the earth, and the curvature of the human are once more in their proper relation”[vii]. Joanna Macy speaks of the “Great Turning” of our times[viii]. Collectively we have been away from the Mother for some time and there is a lot of pain. At this time we may contemplate not only our own individual lost wanderings, but also that of the human species. We are part of a much bigger Return that is happening. The Beloved One may be understood as returning on a collective level: …
Lammas – the Sacred Consuming by Glenys Livingstone Ph.D.

Lammas, the first seasonal transition after Summer Solstice, may be summarised as the Season that marks and celebrates the Sacred Consuming, the Harvest of Life. Many indigenous cultures recognised the grain itself as Mother … Corn Mother being one of those images – She who feeds the community, the world, with Her own body: the Corn, the grain, the food, the bread, is Her body. She the Corn Mother, or any other grain Mother, was/is the original sacrifice … no need for extraordinary heroics: it is the nature of Her being. She is sacrificed, consumed, to make the people whole with Her body (as the word “sacrifice” means “to make whole”). She gives Herself in Her fullness to feed the people …. the original Communion. In cultures that preceded agriculture or were perhaps pastoral – hunted or bred animals for food – this cross-quarter day may not have been celebrated, or perhaps it may have been marked in some other way. Yet even in our times when many are not in relationship with the harvest of food directly, we may still be in relationship with our place: Sun and Earth and Moon still do their dance wherever you are, and are indeed the Ground of one’s being here … a good reason to pay attention and homage, and maybe as a result, and in the process, get the essence of one’s life in order. One does not need to go anywhere to make this pilgrimage … simply Place one’s self. The seasonal transition of Lammas may offer that in particular, being a “moment of grace” – as Thomas Berry has named the seasonal transitions, when the dark part of the day begins to grow longer, as the cloak of darkness slowly envelopes the days again: it is timely to reflect on the Dark Cosmos in Whom we are, from Whom we arise and to Whom we return – and upon that moment when like Corn Mother we give ourselves over. This reflection is good, will serve a person and all – to live fully, as well as simply to be who we are: this dark realm of manifesting is the core of who we are. And what difference might such reflection make to our world – personal and collective – to live in this relationship with where we are, and thus who we are. We all are the grain that is harvested and all are Her harvest … perhaps one may use a different metaphor: the truth that may be reflected upon at this seasonal moment after the peaking of Sun’s light at Summer Solstice and the wind down into Autumn, is that everything passes, all fades away … even our Sun shall pass. All is consumed. So What are we part of? (I write it with a capital because surely it is a sacred entity) And how might we participate creatively? We are Food – whether we like it or not … Lammas is a good time to get with the Creative plot, though many find it the most difficult, or focus on more exoteric celebration. May we be interesting food[i]. We are holy Communion, like Corn Mother. Meet Mago Contributor Glenys Livingstone NOTES: [i] This is an expression of cosmologist Brian Swimme in Canticle to the Cosmos DVD series.
(Book Excerpt) Held in the Womb of the Wheel of the Year by Glenys Livingstone Ph.D.

This essay is an excerpt from the Introduction of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Meditation cushion in circle of decorated stones My ancestors built great circles of stones that represented their perception of real time and space, and enabled them to tell time: the stone circles were cosmic calendars.[i] They went to great lengths and detail to get it right. It was obviously very important to them to have the stones of a particular kind, in the right positions according to position of the Sun at different times of the year, and then to celebrate ceremony within it. I have for decades had a much smaller circle of stones assembled. I have regarded this small circle of stones as a medicine wheel. It is a portable collection, that I can spread out in my living space, or let sit in a small circle on an altar, with a candle/candles in the middle. Each stone (or objects, as some are) represents a particular Seasonal Moment/transition and is placed in the corresponding direction. The small circle of eight stones represents the flow of the Solstices and Equinoxes and the cross-quarter Moments in between: that is, it represents the “Wheel of the Year” as it is commonly known in Pagan traditions. I have found this assembled circle to have been an important presence. It makes the year, my everyday sacred journey of Earth around Sun, tangible and visible as a circle, and has been a method of changing my mind, as I am placed in real space and time. My stone wheel has been a method of bringing me home to my indigenous sense of being. Each stone/object of my small wheel may be understood to represent a “moment of grace,” as Thomas Berry named the seasonal transitions – each is a threshold to the Centre, wherein I may now sit: I sense it as a powerful point. As I sit on the floor in the centre of my small circle of stones, I reflect on its significance as I have come to know the Seasonal transitions that it marks, over decades of celebrating them. I sense the aesthetics and poetry of each. I facilitated and was part of the celebration and contemplation of these Moments in my region for decades. It was always an open group that gathered, and so its participants changed over the years but it remained in form, like a live body which it was: a ceremonial body that conversed with the sacred Cosmos in my place. We spoke a year-long story and poetry of never-ending renewal – of the unfolding self, Earth and Cosmos. We danced and chanted our relationship with the Mother, opened ourselves to Her Creativity, and conversed with Her by this method. All participants in their own way within these ceremonies made meaning of their lives – which is what I understand relationship to be, in this context of Earth and Sun, our Place and Home in the Cosmos: that is, existence is innately meaningful when a being knows Who one is and Where one is. Barbara Walker notes that religions based on the Mother are free of the “neurotic” quest for indefinable meaning in life as such religions “never assumed that life would be required to justify itself.”[ii] I face the North stone, which in my hemisphere is where I place the Summer Solstice. From behind me and to my right is the light part of the cycle – representing manifest form, all that we see and touch. From behind me and to my left is the dark part of the cycle – representing the manifesting, the reality beneath the visible, which includes the non-visible. The Centre wherein I sit, represents the present. The wheel of stones has offered to me a way of experiencing the present as “presence,” as it recalls in an instant that, That which has been and that which is to come are not elsewhere – they are not autonomous dimensions independent of the encompassing present in which we dwell. They are, rather, the very depths of this living place – the hidden depth of its distances and the concealed depth on which we stand.[iii] This wheel of stones, which captures the Wheel of the Year in essence, locates me in the deep present, wherein the past and the future are contained – both always gestating in the dark, through the gateways. And all this has been continually enacted and expressed in the ceremonies of the Wheel of the Year, as the open, yet formal group has done them, mostly in the place of Blue Mountains, Australia. PaGaian Cosmology altar/mandala: a “Womb of Gaia” map Over the years of practice of ritually celebrating these eight Seasonal Moments – Earth’s whole annual journey around Sun, I have been held in this creative story, this Story of Creativity as it may be written – it is a sacred story. Her pattern of Creativity can be identified at all levels of reality – manifesting in seasonal cycles, moon cycles, body cycles – and to be aligned with it aligns a person’s core with the Creative Mother Universe. I have identified the placing of one’s self within this wheel through ceremonial practice of the whole year of creativity, as the placing of one’s self in Her Womb – Gaia’s Womb, a Place of Creativity. All that is necessary for Creativity is present in this Place. All may come forth from here/Here – and so it does, and so it has, and so it will. NOTES: [i] See Martin Brennan, The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland (Rochester Vermont, Inner Traditions, 1994). [ii] Barbara Walker, The Woman’s Encyclopaedia of Myths and Secrets (San Francisco: Harper and Row, 1983), 693. [iii] David Abram, The Spell of the Sensuous (New York: Vintage Books, 1997), 216. REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Brennan, Martin. The Stones of Time: Calendars, Sundials, and Stone Chambers of Ancient Ireland.Rochester Vermont: Inner Traditions, 1994. Walker, Barbara. The Woman’s Encyclopaedia of Myths and Secrets. San Francisco: …
(Essay) Contemplating How Her Creativity Proceeds by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the conclusion of chapter 5 of the author’s book, PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. It is a chapter on the process of the Wheel of the Year. for the Northern Hemisphere version: https://pagaian.org/pagaian-wheel-of-the-year/ It seems to me that the main agenda of the Cosmos is ongoing Creativity, “never-ending renewal” it may be termed, and that this is expressed in Earth’s Seasonal Wheel through the transitions of Autumn,Winter, Spring, Summer; and in the ubiquitous process of a Cosmic Triplicity of Space to Be, Urge to Be and this Place of Being, a dynamic that has often been imagined as the Triple Goddess. In the flow of the PaGaian Wheel of the Year, the Seasonal transitions of the Wheel and the Triplicity of the Cosmos come together. There are two celebrations of the Old One/Crone or the Cosmogenetic quality of autopoiesis creating the Space to Be; and they are Lammas/Late Summer and Samhain/Deep Autumn, which are the meridian points of the two quarters of the waxing dark phase. At Lammas, the first in the dark phase, we may identify with the dark and ancient Wise One – dissolve into Her; at Samhain, we may consciously participate in Her process of the transformation of death/the passing of all. The whole dark part of the cycle is about dissolving/dying/letting go of being – becoming – nurturing it (the midwifing of Lammas/Late Summer), stepping into the power of it (the certain departure of Autumn Equinox/Mabon), the fertility (of Samhain/Deep Autumn), the peaking of it (at Winter Solstice). The meridian points of the two quarters of the waxing light phase then are celebrations of the Young One/Virgin or the Cosmogenetic quality of differentiation, the new continually emerging, the Urge to Be; and they are Imbolc/Early Spring and Beltaine/High Spring. At Imbolc, the first in the light phase, we may identify with She who is shining and new – as we take her form; at Beltaine, we may consciously participate in Her process of the dance of life. The whole light part of the cycle is about coming into being: nurturing it (the midwifing of Imbolc/Early Spring), stepping into the power of it (the certain return of Spring Equinox/Eostar), the fertility (of Beltaine/High Spring), the peaking of it (at Summer Solstice). In the PaGaian wheel of ceremony there are two particular celebrations of the Mother, the Cosmogenetic quality of communion; and they are the Solstices. If one imagines the light part of the cycle as a celebration of the ‘Productions of Time’, and the dark part of the cycle as a celebration of ‘Eternity’, the Solstices then are meeting points, points of interchange, and are celebrations of the communion/relational field of Eternity with the Productions of Time. This is a relationship which does happen in this Place, in this Web. This Place of Being, this Web, is a Communion – it is the Mother; the Solstices mark Her birthings, Her gateways. The Equinoxes then – both Spring and Autumn – are two celebrations wherein the balance of all three Faces/Creative qualities is particularly present: in the PaGaian wheel, the Equinoxes have been special celebrations of Demeter and Persephone – echoing the ancient tradition of Mother-Daughter Mysteries that celebrate the awesomeness of the continuity of life, its creative tension/balance. Both Equinoxes then are celebrations and contemplations of empowerment through deep Wisdom – one contemplation during the dark phase and one during the light phase. The Autumn Equinox is a descent to Wisdom, the Spring Equinox is an emergence with Wisdom gained. I like to think of the Equinoxes, and of the ancient icons of Demeter and Persephone, as celebrations of the delicate ‘curvature of space-time’, the fertile balance of tensions which enables it all. Her Creative Place The Mother aspect then may be understood to be particularly present at four of the Seasonal Moments, which are also regarded traditionally as the Solar festivals; and in this cosmology Sun is felt as Mother. I recognize these four as points of interchange: at Autumn Equinox, Mother is present primarily as Giver – She is letting Persephone go, at Spring Equinox, She is present primarily as Receiver – welcoming the Daughter back, at Winter Solstice the Mother gives birth, creates form, at Summer Solstice, She opens again full of radiance, and disperses form. The Mother is Agent/Actor at the Solstices. She is Participant/Witness at the Equinoxes, where it is then really Persephone who is Agent/Actor, embodying an inseparable Young One and Old One. The Old One is often named as Hecate, who completes the Trio – all seamlessly within each other. Another possible way to visual it, or to tell the story, is this: The Mother – Demeter – is always there, at the Centre if you like. Persephone cycles around. She is the Daughter who returns in the Spring as flower, who will become fruit/grain of the Summer, who at Lammas assents to the dissolution – the consumption. At Autumn Equinox She returns to the underworld as seed – Her harvest is rejoiced in, Her loss is grieved, as She becomes Sovereign of the Underworld – Her face changes to the Dark One, Crone (Hecate). As the wheel turns into the light part of the cycle She becomes Young One/Virgin again. Persephone (as Seed) is that part of Demeter that can be all three aspects – can move through the complete cycle. The Mother and Daughter are really One, and embody the immortal process of creation and destruction. Demeter hands Persephone the wheat, the Mystery, and the thread of life is unbroken – it goes on forever. It is immortal, it is eternal. Even though it is true that all will be lost, and all is lost – Being always arises again: within this field of time there is never-ending renewal, eternity. This is what is revealed in the ubiquitous three faces of the Creative Dynamic/ She of Old, the Triplicity that runs through the Cosmos. The Seed of Life never …
(Mago Almanac Excerpt 3) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) Free PDF available at Mago Bookstore. MAPPING THE MAGOIST CALENDAR According to the Budoji, the Magoist Calendar was fully implemented and advocated during the period of Old Joseon (ca. 2333 BCE-ca. 232 BCE) whose civilization is known as Budo (Emblem City). Indeed, the Magoist Calendar is referred to as the Budo Calendar in the Budoji. Budo was founded to succeed Sinsi and reignited Sinsi’s innovations including the numerological and musicological thealogy of the Nine Mago Creatrix. The Budoji expounds on the Magoist Calendar as follows: The Way of Heaven circles to generate Jongsi (a cyclic period, an ending and a beginning). Jongsi circles to generate another Jongsi of four Jongsi. One cycle of jongsi is called Soryeok (Little Calendar). Jongsi of Jongsi is called Jungryeok (Medium Calendar). Jongsi of four Jongsis is called Daeryeok (Large Calendar). A cycle of Little Calendar is called Sa (year). One Sa has thirteen Gi (months). One Gi has twenty-eight Il (days). Twenty-eight Il are divided by four Yo (weeks). One Yo has seven Il. A cycle of one Yo is called Bok (completion of a week). One Sa (year) has fifty-two Yobok. That makes 364 Il. This is of Seongsu (Natural Number) 1, 4, 7. Each Sa includes a Dan of the big Sa. A Dan is equal to one day. That adds up to 365 days. At the half point after the third Sa, there is a Pan of the big Sak (the year of the great dark moon). A pan comes at a half point of Sa. This is of Beopsu (Lawful Number) 2, 5, 8. A Pan is equal to a day. Therefore, the fourth Sa has 366 days. At the half point after the tenth Sa, there is a Gu of the big Hoe (Eve of the first day of the month). Gu is the root of time. Three hundred Gu makes one Myo. With Myo, we can sense Gu. A lapse of 9,633 Myo-Gak-Bun-Si makes one day. This is of Chesu (Physical Number), 3, 6, 9. By and by, the encircling time charts Medium Calendar and Large Calendar to evince the principle of numerology.[12] KEY TERMS Calendric Cycles Jongsi (終是 Ending and Beginning): Cyclic periods Soryeok (小曆 Little Calendar): One year Jungryeok (中曆 Medium Calendar): Two years Daeryeok (大曆 Large Calendar): Four years Names of Year, Month, Day, Week Sa (祀 Rituals, year): One year refers to the time that takes to complete the cycle of rituals. Gi (期 Periods, month): One month refers to the period of the moon and menstruation cycle. Il (日Sun, day): One day refers to the sun’s movement due to Earth’s rotation. Yo (曜 Resplendence of seven celestial bodies, Sun, Moon, Mercury, Venus, Mars, Jupiter and Saturn, week): Each weekday is dedicated to seven celestial bodies. Bok or Yobok (曜服 Duties of the Celestial Bodies, completion of a week): One week refers to the veneration of the seven celestial bodies. Names of Monthly Transition Days Hoe (晦 Eve of the first day of the month, 28th) Sak (朔 First day of the month, 1st, the dark moon) Names of Intercalation Days Dan (旦 Morning): Leap day for New Year Pan (昄 Big): Leap day for every fourth year Names of Time Units Gu (晷 sun’s shadow): Time measure, 1/300 Myo Myo (眇 minuscule): Time measure, a total of 300 Gu Myo-Gak-Bun-Si (眇刻分時 minuscule, possibly 15-minutes, minute, hour): Time measure, 9,633 Myo-Gak-Bun-Si is equal to a day Names of Three Types of Numbers in Nine Numerology Seongsu (性數Natural Number): 1, 4, 7 in the digital root Beopsu (法數 Lawful Number): 2, 5, 8 in the digital root Chesu (體數 Physical Number): 3, 6, 9 in the digital root THREE SUB-CALENDARS The Way of Heaven circles to generate Jongsi (a period, an ending and a beginning). Jongsi circles to generate another Jongsi of four Jongsi. One cycle of jongsi is called Soryeok (Little Calendar). Jongsi of Jongsi is called Jungryeok (Medium Calendar). Jongsi of four Jongsis is called Daeryeok (Large Calendar). The universe is infinite without beginning and ending. Everything runs the course of self-equilibration in relation to everything else. The Way of Heaven or the Way of the Creatrix circles and makes possible the infinite time/space to be measured and calculated. As the Way of Heaven circles, we are able to perceive Our Universe in finite measures of time/space. Time becomes measurable, as space is stabilized. Seasons and days-nights are demarcated in cyclic patterns, as the Earth makes the three cyclic movements of rotation, revolution, and precession. Calendar, born out of the inter-cosmic time, synchronizes human culture with the song/dance of the universe. The term Jongsi, which means an ending and a beginning, is equivalent to “a cyclic period” that is marked by the beginning and the end. Time (a day, a month, and a year) circles, as space (the Earth, the Moon, and the Sun) spirals. The Magoist Calendar has three sub-calendars: The period of one yearly cycle is called Little Calendar, whereas the period of two yearly cycles is called Medium Calendar and the period of four yearly cycles, Large Calendar. To be continued. (Meet Mago Contributor, Helen Hye-Sook Hwang) Notes [12] Budoji, Chapter 23. See Bak Jesang, the Budoji, Bak Geum scrib., Eunsu Kim, trans. (Seoul: Gana Chulpansa, 1986).
A Southern Hemisphere Perspective on Place by Glenys Livingstone Ph.D.

This essay is an edited excerpt from the Introduction to the author’s book PaGaian Cosmology: Re-inventing Earth-based Goddess Religion, which was an outcome of her doctoral research/thesis entitled The Female Metaphor – Virgin, Mother, Crone – of the Dynamic Cosmological Unfolding: Her Embodiment in Seasonal Ritual as Catalyst for Personal and Cultural Change. This doctoral work was in turn a documentation and deeper research of the Seasonal ceremonial celebrations that the author was already engaged in for over a decade. The whole of the process is here named as her “Search”. photo credit: David Widdowson, Astrovisuals. The site of seasonal ceremonial celebrations will always be significant. In my case, the place in which I have created them has been notably in the Southern Hemisphere of out Planet Earth. The fact of my context being thus – the Southern Hemisphere – had contributed in the past to my deep internalized sense of being “other”, and dissociated from my senses, since almost all stories told were based in Northern Hemisphere perspective. Yet at the same time this context of inhabiting the Southern Hemisphere contributed to my deep awareness of Gaia’s Northern Hemisphere and Her reciprocal Seasonal Moment: thus, awareness of the whole Planet. My initial confusion about the sensed Cosmos – as a Place, became a clarity about the actual Cosmos – which remained inclusive of my sensed Cosmos. PaGaian reality – the reality of our Gaian “country” – is that the whole Creative Dynamic happens all the time, all at once. The “other”, the opposite, is always present – underneath and within the Moment. This has affected my comprehension of each Sabbat/Seasonal Moment, its particular beauty but also a fullness of its transitory nature. Many in the Northern Hemisphere – even today – have no idea that the Southern Hemisphere has a ‘different’ lunar, diurnal, seasonal perspective; and because of this there often is a rigidity of frame of reference for place, language, metaphor and hence cosmology[i]. Indeed over the years of industrialized culture it has appeared to matter less to many of both hemispheres, including the ‘author-ities’, the writers of culture and cosmos. And such ‘author-ity’ and northern-hemispheric rigidity is also assumed by many more Earth-oriented writers as well[ii]. There has been consistent failure to take into account a whole Earth perspective: for example, the North Star does not need to be the point of sacred reference – there is great Poetry to be made of the void of the South Celestial Pole. Nor need the North be rigidly associated with the Earth element and darkness, nor is there really an “up” and a “down” cosmologically speaking. A sense and accountof the Southern Hemisphere perspective with all that that implies metaphorically as well as sens-ibly, seems vitally important to comprehending and sensing a whole perspective and globe – a flexibility of mind, and coming to inhabit the real Cosmos, hence enabling what I have named as a ‘PaGaian’ cosmological perspective, a whole Earth perspective. It has also been of particular significance that my Search has been birthed in the ancient continent of Australia. It is the age of the exposed rock in this Land, present to her inhabitants in an untarnished, primal mode that is significant. This Land Herself has for millennia been largely untouched by human war, conquest and concentrated human agriculture and disturbance. The inhabitants of this Land dwelt here in a manner that was largely peaceful and harmonious, for tens of thousands of years. Therefore the Land Herself may speak more clearly I feel; one may be the recipient of direct transmission of Earth in one of her most primordial modes. Her knowledge may be felt more clearly – one may be taught by Her. I think that the purity of this transmission is a significant factor in the development of the formal research I undertook – in my chosen methodology and in what I perceived in the process, and documented; from my beginnings as a country girl, albeit below my conscious mind in the subtle realms of which I knew little, to the more conscious times of entering into the process of the Search. In this Land that birthed me, ‘spirit’ is not remote and abstract, it is felt in Her red earth[iii]. Aboriginal elder David Mowaljarlai described, “This is a spirit country”[iv], and all of Her inhabitants, including non-Indigenous, may be affected by the strength of Her organic communication. It took me until the later stages of my research to realize the need to state the importance of this particular place for the advent of the research: the significance of both the land of Australia, and the specific region of the Blue Mountains in which I was now dwelling, as well as the community of this particular region, which all lent itself to the whole process. The lateness of this perception on my part, has to do with the extent of my previous alienation; but the fact that it did occur, is perhaps at least in part attributable to the unfolding awakening to my habitat that was part of the project/process. The specific region of the “Blue Mountains” – as Europeans have named them – is significant in that I don’t think that this project/process could have happened as it did in just any region. David Abram says, “The singular magic of a place is evident from what happens there, from what befalls oneself or others when in its vicinity. To tell of such events is implicitly to tell of the particular power of that site, and indeed to participate in its expressive potency[v]”. Blue Mountains, Australia: Dharug and Gundungurra Country The Blue Mountains are impressive ancient rock formations, an uplifted ancient seabed, whose “range of rock types and topographical situations has given rise to distinct plant communities”[vi]; and the presence of this great variation of plant communities, “especially the swamps, offer an abundance and variety of food sources, as well as habitats for varied fauna”[vii]. I feel that this is the case for …
The Ceremonial Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 3 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. The Cosmos is a ceremony, a ritual. Dawn and dusk, seasons, supernovas – it is an ongoing Event of coming into being and passing away. The Cosmos is always in flux, and we exist as participants in this great ritual event, this “cosmic ceremony of seasonal and diurnal rhythms” which frame “epochal dramas of becoming,” as Charlene Spretnak describes it.[i] Swimme and Berry describe the universe as a dramatic reality, a Great Conversation of announcement and response.[ii]Ritual/ceremony[iii] may be the human conscious response to the announcements of the Universe – an act of conscious participation. Ceremony then may be understood as a microcosmos[iv] – a human-sized replication of the Drama, the Dynamic we find ourselves in. Swimme and Berry describe ritual as an ancient response humans have to the awesome experience of witnessing the coming to be and the passing away of things; they say that a “ritual mode of expression” is from its beginning “the manner in which humans respond to the universe, just as birds respond by flying or as fish respond by swimming.”[v] It is the way in which we as humans, as a species, may respond to this awesome experience of being and becoming, how we may hold the beauty and the terror. Humans have exhibited this tendency to ritualize since the earliest times of our unfolding: evidence so far reveals burial sites dating back one hundred thousand years, as mentioned in the previous chapter. We often went to huge effort in these matters, that is almost incomprehensible to the modern industrialised econocentric mind: the precise placing of huge stones in circles such as found at Stonehenge and the creation of complex sites such as Silbury Hill may be expressions of some priority, indicating that econocentric thinking – such as tool making, finding shelter and food, was not enough or not separate from the participation in Cosmic events. Ritual seems to have expressed, and still does actively express for some peoples, something essential to the human – a way of being integral with our Cosmic Place, which was not perceived as separate from material sustenance, the Source of existence: thus it was a way perhaps of sensing “meaning” as it might be termed these days – or “relationship.” Swimme and Berry note that the order of the Universe has been experienced especially in the seasonal sequence of dissolution and renewal; this most basic pattern has been an ultimate referent for existence.[vi] The seasonal pattern contains within it the most basic dynamics of the Cosmos – desire, fullfilment, loss, transformation, creation, growth, and more. The annual ceremonial celebration of the seasonal wheel – the Earth-Sun sacred site within which we tour – can be a pathway to the Centre of these dynamics, a way of making sense of the pattern, a way of sensing it. One enters the Universe’s story. The Seasonal Moments when marked and celebrated in the art form of ceremony may be sens-ible ‘gateways’ through the flesh of the world[vii] to the Centre – which is omnipresent Creativity. Humans do ritual everyday – we really can’t help ourselves. It is simply a question of what rituals we do, what story we are telling ourselves, what we are “spelling”[viii] ourselves with – individually and collectively. Ceremony is actually ‘doing,’ not just theorizing. We can talk about our personal and cultural disconnection endlessly, but we need to actually change our minds. Ceremony can be an enabling practice – a catalyst/practice for personal and cultural change. It is not just talking about eating the pear, it is eating the pear; it is not just talking about sitting on the cushion (meditating), it is sittingon the cushion. It is a cultural practice wherein we tell a story/stories about what we believe to be so most deeply, about who and what we are. Ceremony can be a place for practicing a new language, a new way of speaking, or spelling – a place for practicing “matristic storytelling”[ix] if you like: that is, for telling stories of the Mother, of Earth and Cosmos as if She were alive and sentient. We can “play like we know it,” so that we may come to know it.[x] Ceremony then is a form of social action. NOTES: [i] Spretnak, States of Grace, 145. [ii] Swimme and Berry, The Universe Story, 153. [iii] I will use either or both of these terms at different times: I generally prefer “ceremony” as Kathy Jones defines it in Priestess of Avalon, Priestess of the Goddess, 319. She says that ritual involves a repeated set of actions which may contain spiritual or “mundane” elements (such as a daily ritual of brushing one’s teeth), “whereas ceremony is always a spiritual practice and may or may not include ritual elements.” The PaGaian seasonal celebrations/events are thus most kin to “ceremony,” although I do not perceive any action as “mundane.” However, “ritual” is more commonly used to speak of how humans have conversed with cosmos/Earth. [iv] Spretnak, States of Grace, 145. [v] Swimme and Berry, The Universe Story, 152-153. [vi] Ibid. [vii] Abram speaks of “matter as flesh” in The Spell of the Sensuous, 66, citing Maurice Merleau-Ponty, The Invisible and the Invisible (Evanston, Illinois: Northwestern University Press, 1968). [viii] Starhawk used this term on her email list in 2004 to describe the story-telling we might do to bring forth the changes we desire. [ix] A term used by Gloria Feman Orenstein in The Reflowering of the Goddess (New York: Pergamon Press, 1990), 147. [x] As my doctoral thesis supervisor Dr. Susan Murphy once described it to me in conversation REFERENCES: Abram, David. The Spell of the Sensuous. New York: Vintage Books, 1997. Jones, Kathy. Priestess of Avalon, Priestess of the Goddess. Glastonbury: Ariadne Publications, 2006. Orenstein, Gloria Feman. The Reflowering of the Goddess. New York: Pergamon Press, 1990. Spretnak, Charlene. States of Grace: The Recovery of Meaning in the Postmodern Age. San Francisco: HarperCollins, 1993. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. New York: HarperCollins, 1992.
(Mago Almanac Excerpt 7) Introducing the Magoist Calendar by Helen Hye-Sook Hwang

Mago Almanac: 13 Month 28 Day Calendar (Book A) at Mago Bookstore. YEARLY LEAP DAY AND EVERY FOURTH YEAR LEAP DAY Each Sa includes a Dan of the big Sa. A Dan is equal to one day. That adds to 365 days. At the half point of the third Sa, there is a Pan of the big Sak (the year of the great dark moon). A Pan comes at a half point of Sa. This is of Beopsu (Lawful Number) 2, 5, 8. A Pan is equal to a day. Therefore, the fourth Sa has 366 days. Each year has a leap day (Dan), which makes a total of 365 days. Every fourth year is a leap year that has a leap day (Pan), which makes a total of 366 days. The Dan day comes before the New Year in the winter solstice month. And the Pan day comes before the first day of the summer solstice month in the fourth year. The above, however, does not indicate when the New Year comes. Logographic characters of Dan and Pan each suggest their meanings. While each year includes the Dan day (the morning), every fourth year has the Pan day. A unit of four years makes the Big Calendar. Dan (旦 Morning) Leap day for every first three years Pan (昄 Big) Leap day for every fourth year I have postulated that the year begins on the Dan day (one leap day), a day before New Year that comes in the month of Winter Solstice in the Norther Hemisphere. And the Pan day comes on the day before the first day of the 7th month that has Summer Solstice in the fourth year in the Norther Hemisphere. Years Year 1 Year 2 Year 3 Year 4 Months Dan Dan Dan Dan 1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5 6 6 6 6 Pan 7 7 7 7 8 8 8 8 9 9 9 9 10 10 10 10 11 11 11 11 12 12 12 12 13 13 13 13 Days 365 365 365 366 The Magoist Calendar’s intercalation involves one leap day every year and one leap day every four years. That is, each year has one extra day to make it 365 days. Every fourth year has an extra day to make it 366 days. Four years has a total of 1461 days (365×3+366), which makes the mean of 365.25 days. Considering that the month is following the sidereal period rather than the synodic period, it is inferred that the year also follows the sidereal year rather than the solar year. In fact, Magoist Calendar’s one year is very close to today’s 365.25636 days of the sidereal year compared to 365.24217 days of the solar year or the tropical year. Given that, as seen below, the Budoji mentions the tiniest discrepancy of one leap day for 31,788,900 years, the discrepancy between 365.25 and 365.25636 (0.00636 day) can be explained that the year was actually 365.25 days at the time of Budo circa 2333 BCE, 4440 years ago. In other words, there is a discrepancy of 0.12375936 seconds between 2017 CE and 2333 BCE. Regarding Lawful Numbers 2, 5, 8, it is involved as follows: 365 days (3+6+5=14, 1+4=5) Lawful Numbers 2, 5, 8 refers the unit of 365 days (364 days with one intercalary day). Further dynamics are unknown. The sidereal year refers to the time taken by the Earth to orbit the sun once with respect to the distant stars. In contrast, the solar or tropical year means the time taken by the Earth to orbit the sun once with respect to the sun. The sidereal year, 365.25636 days, is about 20 minutes and 24 seconds longer than the mean tropical year (365.24217 days) and about 19 minutes and 57 seconds longer than the average Gregorian year of 365.2425 days. The difference occurs primarily because the solar system spins on its own axis and around the Milky Way galactic center making the solar year’s observed position relative. Time is no independent concept apart from space and the agent. The very concept of time is preceded by the agent bound in a space. It is always contextualized. In Magoism, both calendar and time are born out of the cosmogonic universe, the universe that is in self-creation. Like calendar, time is to be discovered or measured. It is a numinous concept. The very concept of time testifies to the reality of the Creatrix. Time proves the orderly movement of the universe into which we are born. Calendar patterns time, whereas time undergirds calendar. How can we measure time? We are given the time of the Earth that comes from its rotation, revolution, and precession in sync with the moon and the sun (and its planets). One type of time is the solar time. The solar time is a calculation of time based on the position of the sun. Traditionally, the solar time is measured by the sundial. The solar time is, however, specific to the Earth only. It is valid only for the-same-observed-location. It is not made to be used for the time of another celestial body. For example, Mars’ solar time has to be measured independently based on its own rotation and revolution rates. The solar time is an isolated time. It is static and exclusive, not made for the time of other celestial bodies. By nature, it is unfit for connection and communication across celestial bodies. The second type is the sidereal time. The sidereal time is a time scale based on the rate of Earth’s rotations measured relative to the distant stars.[29] Because the observed position is in the far distant stars beyond the solar system, the sidereal time may as well be called an extrasolar stellar time. We can think of the observer’s position of an imaginary cosmic bird far out there, infinitely far beyond not only the solar system and …
(Essay and Video) Cosmogenesis Dance: Celebrating Her Unfolding by Glenys Livingstone

The dance begins with two concentric circles, which will flow in and out of each other throughout the dance, resulting thus in a third concentric circle that comes and goes. The three circles/layers are understood to represent the three aspects of Goddess, the Creative Triple Dynamic that many ancients were apparently aware of, and imagined in so many different ways across the globe. In Her representation in Ireland as the Triple Spiral motif, which is inscribed on the inner chamber wall at Bru-na-Boinne (known as Newgrange)[1], She seems to be understood as a dynamic essential to on-going Cosmic Creativity, as this ancient motif is dramatically lit up by the Winter Solstice dawn. It seems that this was important to the Indigenous people of this place at the time of Winter Solstice, which celebrates Origins, the continuing birth of all. Thus I like to do this Cosmogenesis Dance, as I have named it[2], at the Winter Solstice in particular. The three aspects that the dance may embody, and are poetically understood as Goddess, celebrate (i) Virgin/Young One – Urge to Be as I have named this quality – the ever new differentiated being (also known as Fodla in the region of the Triple Spiral)[3]. This is the outer circle of individuals. (ii) Mother – the deeply related interwoven web – Dynamic Place of Being as I have named this quality – the communion that our habitat is (also known as Eriu in the region of the Triple Spiral)[4]. This is the woven middle circle where all are linked and swaying in rhythm. (iii) Crone/Old One – the eternal creative return to All-That-Is – She who Creates the Space to Be as I have named this quality (also known as Banba in the region of the Triple Spiral)[5]. This is the inner circle where linked hands are raised and stillness is held. The three concentric layers of the dance may be understood to embody these. The Cosmogenesis Dance represents the flow and balance of these three – a flow and balance of Self, Other and All-That-Is. It may be experienced like a breath, that we breathe together – as we do co-create the Cosmos. Thomas Berry and Brian Swimme have named the three qualities of Cosmogenesis in the following way: – differentiation … to be is to be unique – communion … to be is to be related – autopoiesis/subjectivity … to be is to be a centre of creativity.[6] The three layers of the dance may be felt to celebrate each unique being, in deep relationship with other, directly participating in the sentient Cosmos, the Well of Creativity. The Cosmogenesis Dance as it is done within PaGaian Winter Solstice ceremony expresses the whole Creative Process we are immersed in. It is a process of complete reciprocity, a flow of Creator and Created, like a breath. There is dynamic exchange in every moment: that is the nature of the Place we inhabit. The dance may help awaken us to it, and to invoke it. The Cosmogenesis Dance on YouTube https://www.youtube.com/watch?v=dR73MDMM9Fk For more story: Cosmogenesis Dance for Winter Ritual For Dance Instructions: PaGaian Cosmology Appendix I Meet Mago Contributor Glenys Livingstone NOTES: [1] The Triple Spiral engraving is dated at 2,400 B.C.E. [2] This dance is originally named as “The Stillpoint Dance”, or sometimes “Adoramus Te Domine” which is the name of the music used for it. I learned it from Dr. Jean Houston in 1990 at a workshop of hers in Sydney, Australia. I began to use the dance for Winter Solstice ceremony in 1997, and it was only in the second year of doing so that I realised its three layers were resonant with the three traditional qualities of the Female Metaphor/Goddess, and also the three faces of Cosmogenesis. I thereafter re-named and storied the dance that way in the ceremonial preparation and teaching for Winter Solstice. See Glenys Livingstone, PaGaian Cosmology: pp. 280-281 and 311. [3] Michael Dames, Ireland: a Sacred Journey, p.192. [4] Michael Dames, Ireland: a Sacred Journey, p. 192. [5] Michael Dames, Ireland: a Sacred Journey, p. 192. [6] Brian Swimme and Thomas Berry, The Universe Story, p. 71-79. I have identified these qualities with the Triple Goddess, and the Triple Spiral in the synthesis of PaGaian Cosmology: see Glenys Livingstone, PaGaian Cosmology, particularly Chapter 4: https://pagaian.org/book/chapter-4/ References: Dames, Michael. Ireland: a Sacred Journey, Element Books, 2000. Livingstone, Glenys. PaGaian Cosmology: Re-inventing Earth-based Goddess Religion. Lincoln NE: iUniverse, 2005. Swimme, Brian and Berry, Thomas. The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era. NY: HarperCollins, 1992.
(Book Excerpt) Imbolc/Early Spring within the Creative Cosmos by Glenys Livingstone Ph.D.

This essay is an excerpt from Chapter 6 of the author’s new book A Poiesis of the Creative Cosmos: Celebrating Her within PaGaian Sacred Ceremony. Traditionally the dates for Imbolc/Early Spring are: Southern Hemisphere – August 1st/2nd Northern Hemisphere – February 1st/2nd though the actual astronomical date varies. It is the meridian point or cross-quarter day between Winter Solstice and Spring Equinox, thus actually a little later in early August for S.H., and early February for N.H., respectively. Some Imbolc Motifs In this cosmology Imbolc/Early Spring is the quintessential celebration of She Who is the Urge to Be. This aspect of the Creative Triplicity is associated with the differentiation quality of Cosmogenesis,[i] and with the Virgin/Young One aspect of the Triple Goddess, who is ever-new, unique, and singular in Her beauty – as each being is. This Seasonal Moment celebrates an identification with the Virgin/Young One – the rest of the light part of the cycle celebrates Her processes. At this Moment She is the Promise of Life, a spiritual warrior, determined to Be. Her purity is Her singularity of purpose. Her inviolability is Her determination to be … nothing to do with unbroken hymens of the dualistic and patriarchal mind. The Virgin quality is the essential “yes” to Being – not the “no” She was turned into. In the poietic process of the Seasonal Moments of Samhain/Deep Autumn, Winter Solstice and Imbolc/Early Spring, one may get a sense of these three in a movement towards manifest form – syntropy: from the autopoietic fertile sentient space of Samhain, through the gateway and communion of Winter Solstice to differentiated being, constant novelty, infinite particularity of Imbolc/Early Spring. The three are a kaleidoscope, seamlessly connected. The ceremonial breath meditations for all three of these Seasonal Moments focus attention on the Space between the breaths – each with slightly different emphasis: it is from this manifesting Space that form/manifestation arises. If one may observe Sun’s position on the horizon as She rises, the connection of the three can be noted there also: that is, Sun at Samhain/Deep Autumn and Imbolc/Early Spring rises at the same position, halfway between Winter Solstice and Equinox, but the movement is just different in direction.[ii] And these three Seasonal Moments are not clearly distinguishable – they are “fuzzy,”[iii] not simply linear and all three are in each other … this is something recognised of Old, thus the Nine Muses, or the numinosity of any multiple of three. Some Imbolc/early Spring Story This is the Season of the new waxing light. Earth’s tilt has begun taking us in this region back towards the Sun. Traditionally this Seasonal Point has been a time of nurturing the new life that is beginning to show itself – around us in flora and fauna, and within. It is a time of committing one’s self to the new life and to inspiration – in the garden, in the soul, and in the Cosmos. We may celebrate the new young Cosmos – that time in our Cosmic story when She was only a billion years old and galaxies were forming, as well as the new that is ever coming forth. This first Seasonal transition of the light part of the cycle has been named “Imbolc” – Imbolc is thought to mean “ewe’s milk” from the word “Oimelc,” as it is the time when lambs were/are born, and milk was in plentiful supply. It is also known as “the Feast of Brigid,” Brigid being the Great Goddess of the Celtic (and likely pre-Celtic) peoples, who in Christian times was made into a saint. The Great Goddess Brigid is classically associated with early Spring since the earliest of times, but her symbology has evolved with the changing eras – sea, grain, cow. In our times we could associate Her also with the Milky Way, our own galaxy that nurtures our life – Brigid’s jurisdiction has been extended. Some sources say that Imbolc means “in the belly of the Mother.” In either case of its meaning, this celebration is in direct relation to, and an extension of, the Winter Solstice – when the Birth of all is celebrated. Imbolc may be a dwelling upon the “originating power,” and that it is in us: a celebration of each being’s particular participation in this power that permeates the Universe, and is present in the condition of every moment.[iv] This Seasonal Moment focuses on the Urge to Be, the One/Energy deeply resolute about Being. She is wilful in that way – and Self-centred. In the ancient Celtic tradition Great Goddess Brigid has been identified with the role of tending the Flame of Being, and with the Flame itself. Brigid has been described as: “… Great Moon Mother, patroness (sic … why not “matron”) of poetry and of all ‘making’ and of the arts of healing.”[v] Brigid’s name means “the Great or Sublime One,” from the root brig, “power, strength, vigor, force, efficiency, substance, essence, and meaning.”[vi] She is poet, physician/healer, smith-artisan: qualities that resonate with the virgin-mother-crone but are not chronologically or biologically bound – thus are clearly ever present Creative Dynamic. Brigid’s priestesses in Kildare tended a flame, which was extinguished by Papal edict in 1100 C.E., and was re-lit in 1998 C.E.. In the Christian era, these Early Spring/Imbolc celebrations of the Virgin quality, the New Young One – became “Candlemas,” a time for purifying the “polluted” mother – forty days after Solstice birthing. Many nuns took their vows of celibacy at this time, invoking the asexual virgin bride.[vii] This is in contrast to its original meaning, and a great example of what happened to this Earth-based tradition in the period of colonization of indigenous peoples. An Imbolc/Early Spring Ceremonial Altar The flame of being within is to be protected and nurtured: the new Being requires dedication and attention. At this early stage of its advent, there is nothing certain about its staying power and growth: there may be uncertainties of various kinds. So there is traditionally a “dedication” in the ceremonies, which may be considered a “Brigid-ine” dedication, or known as a “Bridal” dedication, since “Bride” is a derivative of …

(Essay 1) Magoist Cetaceanism and the Myth of the Pacifying Flute (Manpasikjeok) by Helen Hye-Sook Hwang, Ph.D.

Pod of narwhals, northern Canada, August 2005. Image courtesy of Kristin Laidre. Wikemedia Commons Manpasikjeok (the pacifying flute that defeats all) is a legendary flute, purportedly made from a narwhal’s tusk, originating in the 7th century Silla (57 BCE-935 CE). King Sinmun (r. 681-692) had a revelation concerning “a bamboo tree” growing on a mysterious mountain floating in the Sea of Whales, today’s East Sea of Korea. From this tree, a flute was made with which he was able to protect the whole world. As a national treasure of Silla, this instrument was famed to defeat all enemies at the time of troubles. What we have is the accounts of the pacifying flute recounted in Korea’s official historical texts. Two sources from the Samguk Sagi (Historical Records of the Three States) and the Samguk Yusa (Memorabilia of the Three States) shall be examined. Not surprisingly, whales are made unrecognizable not only within the story but also in the official history books of Korea. Magoist Cetaceanism was subjected to erasure in the course of Korean official history, but apparently not in the time of King Sinmun of Silla. The myth of Manpasikjeok testifies to Sillan Magoist Cetaceanism upheld by 7th century Sillan rulers. We are reading a Magoist Cetacean myth, however, told by people of a later time when Magoist Cetaceanism was no longer recognized. The fact that these two official historical texts of Korea recount the narrative of Manpasikjeok speaks to its significance: The story is told with a sense of mystery or suspicion. While the Samguk Sagi overtly treats the author’s sense of disbelief, the Samguk Yusa provides a full narrative in tantalizing but mystified details. How was Manpasikjeok 萬波息笛 created in the first place? Below is the Samguk Sagi version of the story: According to Gogi (Ancient Records), “During the reign of King Sinmun, a little mountain emerged in the East Sea out of nowhere. It looked like a head of a turtle. Atop the mountain there was a bamboo tree growing, which became two during the day and became one at night. The king had his subject cut the bamboo tree and had it made a flute. He named it Manpasik (Pacifying and Defeating All).” Although it is written so, its account is weird and unreliable.[1] Written by Gim Busik (1075–1151), a Neo-Confucian historiographer, the above account betrays an unengaged author’s mind in the story. For Gim, Korean indigenous narratives like Manpasikjeok are anomalous, if not unreliable, by the norms of Chinese history. In contrast to the former, the Samguk Yusa details the Manpasikjeok story in a tantalizing sense of mystery. Its author Ilyeon (1206-1289) was a Buddhist monk, a religious historian who saw the history of Korea as fundamentally Buddhist from the beginning. He elaborates the story with factual data but fails to bring to surface the cetacean underpinning of the myth. It is possible that Magoist Cetaceanism had already submerged much earlier than his time. King Sinmun (r. 681-692) had built the temple, Gameun-sa (Graced Temple), to commemorate his late father King Munmu (r. 661-681) who willed to become a sea dragon upon death. The relic of King Munmu had been spread in Whale Ferry (Gyeongjin 鯨津), also known as the Rock of Ruler the Great (Daewang-am) located in the waterfront of the East Sea also known as the Sea of Whales. Evidence substantiates that King Munmu was a Magoist Cetacean devotee clad in a Buddhist attire. Or today’s Buddhologiests call it Esoteric Buddhism. The Manpasikjeok myth may be called the story of King Sinmun’s initiation to Magoist Cetaceanism. Before explicating the Samguk Yusa account, which is prolix and complex, I have summarized the Samguk Yusa’s account as follows: (Summary of the Manpasikjeok Myth) King Sinmun ordered the completion of Gameunsa (Graced Temple) to commemorate his deceased father, King Munmu. The main hall of Gameunsa was designed at the sea level to allow the dragon to enter and stroll through the ebb and flow of the sea waves. In the second year of his reign (682 CE), Marine Officer reported that a little mountain in the East Sea was approaching Gameunsa. The king had Solar Officer perform a divination. The divination foretold that he would be given a treasure with which he could protect Wolseong (Moon Stronghold), Silla’s capital. This would be a gift from King Munmu who became a sea dragon and Gim Yusin who became a heavenly being again. In seven days, the king went out to Yigyeondae (Platform of Gaining Vision) and saw the mountain floating like a turtle’s head in the sea. There was a bamboo tree growing on its top, which became two during the day and one at night. The king stayed overnight in Gameumsa to listen to the dragon who entered the yard and the substructure of the main hall. Then, there was darkness for seven days due to a storm in the sea. After the sea calmed, the king went into the mountain to meet the dragon. The dragon told him that, if he made a flute out of the bamboo tree, the whole world would be pacified. The king had the bamboo tree brought out of the sea and made it into a flute, which became a treasure of Silla. The mountain and the dragon disappeared. The flute, when played during times of the nation’s trouble, brought peace. Thus comes its name, Manpasikjeok (the pacifying flute that defeats all). During the reign of King Hyoso (r. 692-702), his son, the flute continued to make miracles. Thus it was renamed Manmanpapasikjeok (the pacifying flute that surely defeats all of all). One day, it was reported to King Sinmun that a little mountain was approaching Gameunsa. That mountain had a mysterious bamboo tree atop. On the seventh day from then, he went out to Yigyeondae (Platform of Gaining Vision), the whale watch place near Gameumsa. Then, he stayed overnight in Gameunsa to hear the dragon who entered the temple yard through the ebb and flow of the …
(Essay 3) The Magoist Calendar: Mago Time inscribed in Sonic Numerology by Helen Hye-Sook Hwang

[Author’s Note: This is my latest research that has led me to restore the 13-month, 28-day Mago Calendar, which will be included at the end of its sequels. See Mago Almanac: 13 Month 28 Day Calendar (Book A), published in 2017.] THE SECOND CALENDAR Then, the Earth had increasingly so much work in all regions. Biodiversity went overboard. The terrestrial song became uncontrollable. The initial calendar became defunct. Lifeforms were left uncoordinated. The Earth fell into disorder, as she had no one to tune the song of earthlings in harmony with the cosmic music of creativity. The Earth was in need of sentient beings who could undertake the task. Mago’s descendants were to be born. Humans were entrusted to cultivate the earthly sound property by the Nine Mago Creatrix. The Budoji writes:
(Poem) Knowing Mago Calendar by Helen Hye-Sook Hwang

[Author’s Note: This poem was an offshoot of an essay on Magoist Calendar and Nine Numerology, to be included in the forthcoming anthology, Celebrating Seasons of the Goddess (Mago Books, 2017). I thank Genevieve Vaughan, Danica Anderson, and Harriet Ann Ellenbeger who have given me feedback to the article and inspiration to this poem.] Mago Calendar is the umbilical cord of the Great Goddess, the umbilical cord that re-members the Beginning Story of us all terrestrial beings, that enables the one and many songs/dances of the Earth, and that nourishes the human world to sing the chorus to the cosmic lullaby. Mago Calendar is the grand wheel of the Great Mother, the grand wheel that spirals the inter-cosmic orbit of truth, goodness, and beauty, that carries all earthlings to the fullest becoming, and that builds bridges into the inter-protonic galaxies. Mago Calendar is the everlasting blessing of the Nine Mago Creatrix, the everlasting blessing that scripts the ecstasy of Heavenly Numerology, that charts the Earth’s metamorphosis from the infinite to the physical, and that unfolds the Reality of the Mago Time, WE/HERE/NOW. (Meet Mago Contributor) Helen Hye-Sook Hwang.
(Bell Essay 5) The Ancient Korean Bell and Magoism by Helen Hwang

Part V: The Nine Nipples and Korean Magoist Identity Part V demonstrates the difference in bells of Korea, China, and Japan with regard to the relief of nine nipples. Chinese bells after the Han dynasty (206 BCE-220 CE) got away with the nipples wholesale, whereas Japanese bells inaccurately mimicked nine nipples. On the other hand, the nine nipples continued to be sculpted on Sillan Korean bells and throughout history. In fact, the nine nipples became the hallmark of Korean bells. Why did post-Han China discontinue the nine nipples, a legacy from Shang and Zhou times? What made Japan mimic the nipples on the bell? What does it mean that Korean bells kept the nine nipples intact throughout history? These questions remain unanswered without the framework of the mytho-history of Old Magoism that defines ancient Korea as the creator and defender of Magoism in pre- and proto-Chinese times. The fact that bells with the nine nipples re-emerged during 7th-8th century Silla (57 BCE-935 CE) is no accident. In fact, it supports the premise that Old Magoism during which Magoist female shamans ruled was revived by Sillan leaders. Silla Koreans took the role of witness to the legacy of Old Magoism before it vanished into the subliminal memory of history once and for all. Like other symbols of the number nine such as the nine dragons, nine-tailed fox, and nine maidens that I have shown in a series of preceding essays, the nine nipples are the cultural/conceptual relic from the bygone Magoist history underlying Sinocentric historiography of East Asia. On one level, the relief of nipples forged on the bells from Korea, China, and Japan in one way or another at some point of history substantiates the cultural influence of Old Magoism across the national boundaries of East Asia. On another level, the fact that the nine nipples characterize Korean bells throughout history suggests the primary association of ancient Koreans with Magoism. Korean bells have served the mission of carrying the cultural memory of Old Magoism. Let us backtrack a bit and ask: Is it possible to conclude that the Zhou bell was the original model of the Sillan bell? It is dubious to deem that the Sillan bell took the model of the Zhou bell solely. That is primarily because the Sillan bell is far more explicit than the Zhou bell in female symbology. The Zhou bell’s nipples are not even called nipples. Foremost, official history of ancient China has no explanation for the female principle embodied in the nine nipples of Zhou and Shang bells. It appears that the Han dynasty (206 BCE-220 CE) was the landmark that defined China without regard to its attitude toward Old Magoism. The umbilical cord was not only cut off but also used to matricide, marking the birth of full-fledged patriarchy. The bloody hand was washed in falsified historiography. The Han dynasty marks the period of transition from the pseudo-Magoist to the anti-Magoist for China. In other words, China as a political force began, or rather continued, to abandon the legacy of Old Magoism and forged a new identity of patriarchal rulership in writing. In about four centuries thereafter, we find the bells of the Dang dynasty (618-906) utterly non-traditional in style, showing no sign of female symbology. Bell, Chen Dynasty (575), China Jingyun Bell, Tang Dynasty (711), China Protruded knobs are expressed in Jingyun bell cast in 711 CE but hard to associate them with nipples. The number nine symbology is no longer included. Instead, the magnitude in size and weight (247 cm and 6,500 kg) was there to adumbrate what has gone into oblivion, the magical work of epiphany. Discontinuity between Zhou bells and Dang bells cannot be more overt. As seen in above images, Chinese bells of the post-Dang period are adorned in entirely new styles among which the convoluted end-lines are one of the most distinctive features. Creativity without harmony is no ingenuity but an expression of confusion. Power without harmony is only a disguise of fear and guilt. And harmony comes from the Great Goddess, Mago. The contrast of the Dang bell is heightened when it is juxtaposed with the contemporaneous Sillan counterpart. It is unequivocal that the Sillan Korean bell is closer to the Zhou bell in appearance than the Dang bell to the Zhou bell. Experts may deem this as a corollary that ancient Silla was under the influence of Zhou culture. However, I suggest that both Silla and Zhou took the footstep of the pre-Chinese tradition of Old Magoism. Put differently, there were older models that are not fully exposed at this time. Precisely, Sinocentric thinking is under investigation. On the part of proto-Chinese Korean history, according to mainstream historians, Joseon (2333 BCE-232 BCE) is rendered a myth lacking historicity. Silla not only duly inherited the heritage of Old Magoism but also sought to revive the rule of Old Magoism whose political stance strikingly differed from her contemporaneous neighboring state, Dang China. In fact, the Dang dynasty (618 CE-906 CE) coexisted with the united Silla period (668 CE-936 CE), shorter than the last third of the Silla period (57 BCE-935 CE). What prevents one from thinking that Silla inherited the symbolism of nine nipples directly from pre-Chinese East Asian/Korean Magoist Culture? Interestingly, Japanese bells have nipples whose numbers are, nonetheless, inconsistent, more than nine. While showing no overt symbology of female sexuality, the Japanese bell displays the nipples in the four corners aligning with its predecessors. In comparison with Korean bells, nonetheless, they are evidently monotonous in artistry. Absent are the breast circumferences as well as the seats for nipples. Neither goddess images nor intricately designed rinceau designs are employed. However, a hue of mimicry is echoing. The lack of originality in Japanese bells seemed plainly noticed by the Japanese themselves upon encountering Korean bells. More than fifty Korean bells were taken to Japan during the colonial period (1910-1945) and even before then and still remain there. Among them, six bells are known from Silla, cast before the 10th century CE. In fact, the bell in Unjuji, Japan, is alleged …
(Mago Almanac Planner Year 5 Excerpt 3) 13 Month 28 Day Magoist Calendar by Helen Hye-Sook Hwang

[Author’s Note: This and its sequences are a newly added portion in the Mago Almanac Planner Year 5, equivalent to the Gregorian Year 2022. Because the Budoji did not explain further about time units smaller than 1 day, I did not follow through some possible implications in previous Mago Almanac volumes. Next year’s Mago Almanac Planner for Personal Journey: 13 Month 28 Day Calendar Year 5 or 5919 MAGOMA ERA is forthcoming in Mago Bookstore (October 25, 2021). PDF version is available for purchase.] We set the new moon day of the Winter Solstice month in 2017 as the New Year of Year 1. With that, we are able to tap Magoist days into Gregorian days that we moderns use. Then, how do we bring down a Magoist time in the scheme of the Gregorian time? How do we determine the onset of New Year in the Magoist Calendar? When would be the midnight of New Year in Year 1? That requires a translation of Mago time into Gregorian time. We can designate midnight as a midpoint in time equidistant from the sunset of New Year’s Eve to the sunrise of New Year. As local times vary around the globe, the midnight of New Year varies in states and cities. In Los Angeles, California USA, the first Magoist midnight falls on 23:29 on December 17, 2017 for Year 1. That would be 07:29 on December 18, 2017 in UTC. Year 1Year 2Year 3Year 4Midnight12/17/2017 23:2912/17/2018 23:2912/17/2019 23:2912/16/2020 23:30Sunset16:45, 12/1716:45, 12/1716:45, 12/1716:44, 12/16Sunrise6:53, 12/186:53, 12/18 6:53, 12/186:53, 12/17 (Sunset and sunrise times in Los Angeles, USA) The below table shows the first Magoist midnight (around 0.33 AM) falls on December 18, 2017 in Gyeongju, South Korea. That would be 15:33 on December 17, 2017 in UTC. Year 1Year 2Year 3Year 4Midnight12/18/2017 0:33.512/18/2018 0:32.512/18/2019 0:32.512/17/2020 0:32.5Sunset17:11, 12/1717:11, 12/1717:11, 12/1717:11, 12/16Sunrise7:28, 12/187:27, 12/18 7:27, 12/187:27, 12/17 (Sunset and sunrise times in Gyeongju, South Korea) We can imagine a spiral progression of years from Little Calendar (one year) to Medium Calendar (two years) and to Large Calendar (four years). Every year has one leap day, whereas every fourth year has another leap day in the middle of the year. Cyclic time, as it progresses, creates rhythm and harmony in the human world. Little Calendar (1 year)13×1=13 months364 days+1 leap day=365 daysMedium Calendar (2 years)13×2=26 months2x(364 days+1 leap day) =730 daysLarge Calendar (4 years)13×4=52 months4x(364 days+1 leap day)+1 leap day=1,461 days (End of the series) https://www.magoacademy.org/virtual-midnight-vigil-to-new-year/ https://www.magoism.net/2013/07/meet-mago-contributor-helen-hwang/
(Mago Almanac Planner Year 5 Excerpt 1) 13 Month 28 Day Magoist Calendar by Helen Hye-Sook Hwang

[Author’s Note: This and its sequences are a newly added portion in the Mago Almanac Planner Year 5, equivalent to the Gregorian Year 2022. Because the Budoji did not explain further about time units smaller than 1 day, I did not follow through some possible implications in previous Mago Almanac volumes. Next year’s Mago Almanac Planner for Personal Journey: 13 Month 28 Day Calendar Year 5 or 5919 MAGOMA ERA is forthcoming in Mago Bookstore (October 25, 2021). PDF version is available for purchase.] Angbuilgu (仰釜日晷 Concave Sundial) dated in 1434 of Joseon Dynasty Korea (13 horizontal lines are engraved, indicating 24 seasons and 7 vertical lines indicating times of a day) UNITS OF TIME MEASURE At the half point of the eleventh Sa, there is one Gu of the big Hoe (Eve of the first day of the month). Gu is the root of time. Three hundred Gu makes one Myo. With Myo, we can sense Gu. A lapse of 9,633 Myo-Gak-Bun-Si makes one day. This is of Chesu (Physical Number), 3, 6, 9. By and by, the encircling time charts Medium Calendar and Large Calendar to evince the principle of numerology. 1 Gu (approx. 3.71 miliseconds) refers an infinitesimal discrepancy that occurs every eleven years or every ten and a half years precisely. Because Gu (a noncognitive time unit) is a time too small to count, Gu can only be treated as 1 Myo, equivalent to 300 Gu. As shown in the below table, Myo is still a tiny unit of time. 9,633 Myo equals 1 day, which is 288,990 Gu (300×9633=288,990). Because of this, there will be one extra day (9,633 Myo) every 31,788,900 years. This means, the Magoist Calendar has another (the third) leap day every 31,788,900 years (11 x 300 x 9,633). 31,788,900 years is a long time, which we will presumably not take into consideration for the Magoist Calendar dating 3898 BCE (the beginning year of Goma’s Danguk confederacy) that we are under. Because the units of Gak, Bun, and Si are not further explained in the Budoji,[1] it is difficult to designate what they indicate. Although the terms of Gak, Bun, and Si are familiar to moderns as time indicators, what each unit indicates is unknown. Given that 9,633 Myo (Gak-Bun-Si) equals 1 day (1 Il 日 일), it is conjectured that Gak-Bun-Si refers to time segments equivalent to hours, minutes, and seconds in today’s 24 hour a day scheme. 1 Myo is approximately 1.115 seconds, as 9,633 Myo is approximately 8,640 seconds. If we project the time of 1 day into a circle, the whole circle indicates 1 day. Doing this implies that time/space is inseparable in a circular notion of timespace. To specify a size of time smaller than 1 day, we can first divide the circle into two halves. Let’s call the half circle or a half day A. A (equivalent to 12 hours) equals 4,816.5 Myo or 1,444,950 Gu. Then, we divide the half circle into two halves. And let’s call it B. B refers to a quarter of 1 day or B (equivalent to 6 hours), which equals 2,408.25 Myo or 722,475 Gu. Likewise, C refers to one eighth of 1 day, equivalent to 3 hours), which equals 1,204.125 Myo or 361,237.5 Gu. A subsequent division by 2 aligns with the Physical Numbers, 3, 6, 9 in the digital root.[2] Given one sidereal day to be 23 hours, 56 minutes, and 4.0916 seconds or 23.9344696 hours, 1 A would be 11 hours, 58 minutes, and 2.0458 seconds. 1 B would be 5 hours, 59 minutes, and 1.0229 seconds. 1 C would be 2 hours, 59.5 minutes, and 0.51145 seconds. The circle represents the sidereal day of 23 hours, 56 minutes, and 4.0916 seconds. Note that the time divisions of 1 day (A, B, and C) follow the order of 1, 2, 4, and 8. Precisely, this is what the Magoist Genealogy of the first three generations that I illustrated above and elsewhere: The Magoist Cosmogony recounts that from one (Mago, the Great Mother) born are the two daughters (Gunghui and Sohui), which makes the triad. From the two daughters born are the four twins, which makes eight. This is observed in meiosis (cell division for sexually reproducing organisms) from one to two and to four and to eight and so forth. The Mago triad and the eight granddaughters are called Nine Magos.[3] The calendar is not just an indication of times or seasons. It is an indication of the life-organizing principle. The Magoist Calendar is a summary of cosmic and planetary life systems. From a microcosmic entity to a macrocosmic universe, all runs by the same force of Sonic Numerology, the metamorphic reality of WE/HERE/NOW. Beings, time, and space are the three inseparable aspects of one reality.(To be continued) [1] It is indeed regretful that the sequence book of the Budoji, Yeoksiji (Book of Calendar and Time), that treats calendar and time has been lost. We have only the Budoji available, the first book of 15 books of the Jingsimnok (Record of Cleansing Mind/Heart), a compendium of 3 volumes that have 5 books in each. Doubtless that the Yeoksiji (Book of Calendar and Time), the third book of Volume 1, would detail the rest of time measures and sub-calendars. [2] D would refer to one sixteenth of 1 day, equivalent to 1.5 hours, which equals 602.0625 Myo (3 in the Digital Root) or 180,618.75 (9 in the Digital Root). If we divide one eighth of 1 day by 3, it is one twenty-fourth of 1 day or E (equivalent to 1 hour). A total of 24 segments. E equals 401.375 Myo or 120,412.5 Gu. These numbers do not follow the suit of 3, 6, and 9, Chesu or Physical Numbers. 401.375 is 2 in the Digital Root and 120,412.5 is 6 in the Digital Root. [3] See this book, 112. https://www.magoism.net/2013/07/meet-mago-contributor-helen-hwang/