PAUL LAFFOLEY POSTERS:
THANATON III & DIMENSIONALITY ARE FINALLY HERE

YES .... They have arrived, after 38 years!.
Paul has spent the last 40 years living in a 30 x 19 ft. utility-room dilligently producing hundreds of these immenseley detailed and meaningful paintings, which average 6 x 6 ft. square. Kent Gallery has now released a set of two posters,

All Poster Sales will Support the Production of Paul Laffoley's Catalogue Raisonne
A book of his Complete Paintings and Writings. Expected release date 2008; In 4 sections
• Early Works, • Works prior to 1990, • The Time of the Bauharoque: 2000-2099, •The Journal
So ... basically if you really want to see ALL of Paul Laffoley's art released in a large format book,
in as short of a time as possible, the best way to make that happen is to get these first-ever posters!

The THANATON III
1989 Oil, acrylic, ink, lettering on canvas 73 1/2 x 73 1/2 in.

Subject: A Visitation by a Flying Saucer and Alien
Symbol Evocation: The tortoise as the Earth-Mother, the Support of the World

Comments:
The painting depicts an extraterrestrial's exhortation to me, explaining how to:
1) Link life to death in a continuous experience.
2) Utilize the resulting thanatonic energy to travel faster than the speed of light,
turn matter into consciousness and back again, alter evolution at will
and exist simultaneously at every moment of time.
3) Move the entire universe into the fifth dimensional realm,
and say when in history it is possible for this to happen.

I have also received other information I cannot understand.
Since this information was given to me directly but not for me per se,
it must be communicated to others, many of whom are better prepared than I to receive it.

Accordingly I was also shown how to make the painting into psychotronic, or mind-matter interactive device which is
activated by approaching the painting, stretching out your arms, touching the upright hands and staring into the eye.
By doing this, new information will come to you through the
active use of the divine proportion, which is the
proportion of life connecting to death.

- Paul Laffoley

DIMENSIONALITY: The Manifestation of Fate
1992 Oil, Acrylic, Ink, Lettering on Canvas 98 1/2 x 49 1/2 in.

Subject: The Natural Octave of Spatiality and Temporality
Symbol Evocation: The Geometric Force of the Tension between Fate and Free Will

(below is a small excerpt from the almost book-length 'thought form' text on poster margins)

Click for Full-Page Image Comments: From the mid-nineteenth century until now, dimensionality has gradually replaced the traditional concept of fate, first anthropomorphized by the ancient Greeks as three female sovereigns who determine the course of human life. The Fates from the Latin “fata” [singular – “fatum”] derives from the ancient Greek word “moirai” [singular – “moira”]. Both words mean “prophetic declarations” or “oracular utterance.” When an event is said to be fated, it is the same as that particular event being decreed to come to pass. But for humanity the future always remains unknowable except for an occasional divine inspiration, which is seldom heeded. The interlocutor for the Romans was Jupiter, while the decisions of the Fates for the Greeks were spoken by Zeus. Cassandra, a daughter of Priam [king of Troy], was endowed with the gift of prophecy but fated never to be believed. This is the condition the human species finds itself in relation to the future, never to know the absolute future, but always believing it can. In Greek and Roman cultures, the three Fates: 1) Clotho- the spinner – she who spins the thread of life 2) Lachesis- the disposer of lots – she who determines the length of life 3) Atropos- the inflexible – she who cuts off the thread of life All three were called goddesses. They were, however, of such primordial nature that even early Greek commentators such as the poet Hesiod [Fl. ca. 800 B.C.E.] and the historian Herodotus [ca. 484-420 B.C.E], considered them Titans [the parents of the gods]. Eventually even that description would not suffice. Ultimately the function of the Fates in the universe became associated with the term “anagke” or necessity. This is a concept that includes the notions of both the abstract and the concrete, an idea for which we have no word because it is assumed that they are opposites. Even the ancient Greek philosopher Plato [ca. 428-348 B.C.E.] was unable to find a principle that would act as a sufficient contrary to necessity. He proposed the concept “nous” or reason. In the Timaeus, one of his last writings, he had to accept that reason – the highest and most perfect knowledge humans could strive for – could only persuade the dictates of necessity, that is sometimes the fact that necessity has no particular concern for the human condition either individually or collectively cast a shadow on the efficacy of reason to persuade anything. This doubt led in classical Greek drama to a tragic sense of life in which humanity lives in a tension of faith in the future and hope for personal control in the present by reason. And since life seems like an abrupt vacillation between joy and agony, passion and apathy, success and struggle, it was assumed that all human concerns are subject to the whim of the gods. And sometimes even the gods are dominated by necessity. The fall into history that began in the eighteenth century away from a total consideration for the aliveness of the universe can only be offset by some version of the so-called Anthropic Principle of Cosmology. The principle states that these are conditions observed in the universe, which must allow the observer of the universe to exist, and the universe must have properties that inevitably result in the existence of intelligent life. This means that the dimensional realm, which I am associating with the traditional concept of fate, is the decoding of The Anthropic Principle of Cosmology, or at least are the logical implications of the formal structure of the dimensional realm. In order to represent the natural energy states and subjectivity of temporality, I have selected the traditional Vedic Chakra glyphs that have a natural spiritual progression. In like manner, the octave of spatiality has a pure objectivity that can be best depicted by vibrating spheres of a homogenous liquid each with identical diameters. Because the liquid is confined, the frequency change alters by octaves of octaves. The litany of the dimensional realm is as follows: 0 – instant: point; 1 – interval: line; 2 – succession: plane; 3 – durance: solid; 4 – time: solvoid; 5 – eternity: vosolid; 6 – hyparxis: void; 7 – zeit: raum; 8 – metatime: metaspace. The epistemic ladder, which creates a gradual unity of the dimensional notes, begins with: list: sign; anecdote: index; tale: icon; legend: archtype: myth: symbol; epiphany: cypher; kratophany: cipher; and finally; hierophany: sypher But the main concern for the human personality is the transition between the fourth and fifth dimensional notes: myth: symbol. This is the location of Utopic Space, which exists as an ontic and epistemic bridge between time and eternity, solvoid vosolid. Utopic space is often defined as the environment for the mystical experience, but this is technically untrue in my dimensional system. The real environment consists epistemically of a total immersion in eternity and vosolid and actually the pressing of the entry into hyparxis and void and onto the pure revelation obtained from epiphany and cypher. Degrees of consciousness, from almost blinding light to almost total darkness, provide the metaphor for Good to Evil, The Divine to The Demonic, Life to Death, all as degrees of embodiment. These are the aspects of the entire electromagnetic spectrum, which include what we call visible light –a very small portion of the spectrum. Most of the spectrum is undetectable by our unaided senses, but nevertheless, it contains octaves of energy which separate themselves into individual dimensions. Today so-called “physical light” is a metaphor of the position of human consciousness within the total dimensional system for two reasons: (1) “Physical light” always has its origin in the Past, whether or not that origin is a star or a candle; (2) The “brilliance” that we associate with light exists in Nature only in the minds of intelligent conscious life-forms, and is not inherent in the non-conscious aspects of Nature. The photons which deliver energy to waiting retinae do not “carry” light. If it was the case that they do, the entire Universe would be “lit up” all of the time in an isotropic and homogeneous manner, and there would be no “darkness” in the Sky. The symbol for the velocity light has been in our contemporary world the letter “C” meaning 299,796 + or – 4 km./ sec. in a vacuum near the Earth , or in the open air. But now astrophysicists are discovering there is a type of space which can not be monitored by any aspects of the electromagnetic spectrum. This is the space where an old star goes when it explodes and dies. This space is distinct from the space of a Black Hole, only in the sense that the Black Hole space is an infinitesimal point of that , space infinite in extent, which acts as the background energy plenum of the Universe. On Earth these same astrophysicists have discovered a way of slowing down the speed of light to 17 mph by changes of media. They expect very soon to have light to travel at 4 mph. Then everyone will be able to interact directly with light, even the blind , because the energy of the electromagnetic spectrum travels in the human brain at 700 mph. According to Philip Gibbs in an article entitled: “The Symbol For The Speed Of Light ? “, he states : “…, it is possible that its use persisted because “C” could stand for “celeritas” and had therefore become a conventional symbol for speed. We can not tell for sure how Drude, Lorentz, Planck or Einstein thought about their notation, so there can be no definitive answer for what it stood for then. The only logical answer is that when you use the symbol “C”, it stands for whatever possibility you prefer “. While there are many physicists who propose an identification between light and consciousness by means of formulae that rival the simplicity and power of Einstein’s famous E = Mc2. I prefer, therefore, to use “C’ to stand for consciousness. ~Paul Laffoley