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Thread: Sleipnir - Traveling without Moving

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    Sleipnir - Traveling without Moving

    Sleipnir � Traveling without Moving

    By Mark Dunn
    Ódhinn the primordial archetypal' one eyed' great magician, wizard and shaman god of ancient Norse mythology whose name means 'ecstasy master', was also worshipped by the Saxon peoples as 'Wôdan', which hearkens back to the Indo European root word 'Wôdanaz'. The 'Ód' part of the name refers to an altered state of consciousness such as for example ecstatic trance states, as well as out of body experiences and the experience of an internal spiritual light. The 'in' part of the name refers to 'mastery' over whatever 'in' is applied to. Ódhinn was not so much as worshipped but emulated, especially by those shadowy sorcerers as well as wandering poets whom sought to come to an understanding of the nature of creation.

    Ódhinn is known to wander the many worlds in the ancient myths, travelling upon the back of a magical horse, this miraculous horse is described as having eight legs akin to a spider. One can make a comparison here to the inter-dimensional time travelling science fiction character of �Dr Who� from the BBC1 television series who travels to other worlds in a vehicle called a �Tardis�. One of Ódhinn�s innumerable by names, (each name being that of a magically constructed alternate persona of a self-image) was the �Unknowable one�; Ódhinn being somewhat of an eternal �question mark�, forever shapeshifting from one mask persona into another so that he could enter into other realities.

    The name of the horse upon which he rode is called Sleipnir, which means the 'gliding one'. The name is evocative of an ecstatic experience whereby Ódhinn is able to 'glide' into trance over the 'web' interconnecting all worlds, times and places as well as everything in creation, yet at the same time weaving the web as a spider. This web of 'connections' can be seen to be an underlying reality of an informational dreaming Universe which dreams it's self into physicality; when the web is accessed through induced trance or lucid dreaming one can therefore affect changes in physical reality.

    The underlying web of energy and information which is seen to be the generative principle behind all forms was known to the ancient Saxon peoples as the web of �Wyrd�.

    The threads of the web of Wyrd 'were perceived to be woven' by three Goddesses whom represent the past, present and future. These three Goddesses were known to the ancient Norse peoples as the �Norns�, perceived as sisters, their names are Urd, 'that which was', Verdandi, 'that which is becoming', and Skuld, 'that which is to become'.

    The three Goddesses appear to represent information streams that emanate from all possible pasts and probable futures generating one of many of an eternal fated present. These information streams of �time lines� would not only flow from the past to future but also from future to the past. One could possibly even equate these three Goddesses with the Neutron, Electron and the Proton being that of the nucleus of the Atom.

    Many people have observed that the colours experienced within lucid dreams, whereby 'one is consciously aware that one is dreaming while participating within the dream' are extraordinarily vivid. A characteristic structure and behaviour of Electrons in an Atom is responsible for the phenomenon of colour.

    An important role in the generation of colour comes from the Electrons jumping from one energy level to another and then back again; What if one can consciously observe and therefore modify the behaviour of the Electron from within the dream. Scientists at the Wisemann Institute in Israel have demonstrated (applicable to one Macron or smaller) that the Electrons behave differently when observed. The observer influences the energy; thereby one can �effect� changes to the environment.

    By interacting with the symbolic stimuli within the dream via lucidity one can consciously manipulate the information and thereby the energy that they encapsulate. The symbolic stimuli of the dream are energetically emotive charged knots of information that tie up all probable past, present and future time lines. By consciously untying the symbolic knots, energy is released so that one can forge new knots of symbolic stimuli into becoming as flesh into one's sensory reality experienced as synchronistic phenomena. One in essence would have the ability to forge a new destiny rather than become as a prisoner to one's encoded destiny programmed into one's DNA.
    One's own DNA gives off Photons known as Bio-Photons and it is conjectured that one's own DNA could be in communication with other DNA via an information web of light. The Photon emission emanating from within the DNA is an ultra weak signal yet highly coherent comparable to that of a laser. One can say that the DNA has its own signature song of light.

    The DNA can be symbolised as two intertwining serpents forming the �Double Helix� of the DNA; this seems to be somewhat reminiscent of the symbolism pertaining to Sleipnir, for Sleipnir is a fusion of two horses forming a third. A third which is an eight legged horse of a spider that weaves the web upon which it travels without moving, ridden by Ódhinn gliding into ecstatic trance.
    Perhaps Sleipnir represents the DNA Helix at the Bio-Molecular level, at the sub-Atomic level it represents the Neutron, Electron and the Proton. One could also say that Sleipnir represents the two Nerve fibres running along either side of the Spinal Column as well as the central Nerve Channel of the Spine at the Physiological level.

    The Spinal column and the Nervous System can be seen to symbolically represent the Shamanic cosmological model of the �World Tree�. The world tree represents the axis mundi around which the informational streams from a myriad probable perceptible world's are inter-linked into a matrix of an underlying crystalline fractal template web of a dreaming microcosm. The nervous system is very much like a filter system which determines the kind of information which one can access and it can be re-tuned, through self induced trance, engineered lucid dreams or intense visualisation techniques.

    The Nervous System cannot tell the difference between a real experience or that of a vividly imagined one. One's internalised self image is an imprint and the summation of experience, programming one's Nervous System, thereby determining the filtering of information that one can access. The self-image is sustained and reinforced by a continuous stream of charged emotions, becoming an �internal dialogue� that one has with one's self, which fixates one's perception into a habitual experiential reality.

    One's emotive state is triggered by symbolic stimuli associated with highly emotive experiences. Through induced trance, conscious dreaming and the utilization of highly emotive re-formulated self-image visualisation techniques one can re-configure the self-image into new forms and thereby re-tune one's self into another informational time line.

    The ancient Norse peoples knew the world tree as Yggdrasill. It was upon this tree that Ódhinn sacrificed his internalised mundane perceptual self-image, by hanging himself upon the tree of self-sacrifice, introverting his senses into that of the ecstatic death trance. Through the experience of trance he was able to reconfigure the imprint of the self-image upon his Nervous System. He died to himself to find himself. He acquired the knowledge of the primary white light of the web, being that of the release of energy from the untied knot of his prior encoded self- image, thereby consciously re-birthing himself anew into a new self-image. He was in essence able to serial reincarnate while alive.

    Yggdrasill can be seen as interpenetrating the three levels of reality from the Sub-Atomic realm to that of the Bio-Molecular as well as the Physiological. Yggdrasill was said in the ancient myths to be under the care of the three Norn sisters. It is to this tree that Ódhinn's horse Sleipnir is tethered, and it is upon Sleipnir that Ódhinn glides over the web through trance and dreams assuming magically constructed guises.

    The communication web of the Bio-Photon can be accessed consciously through one's dreams as well as through controlled trance. Since one's dreams are essentially light phenomena ordered into form by one's observation while within the dream, one can then consciously interact with the energy and information to warp it to one's will. The dream can therefore be seen as a virtual reality construct, which reflects back how one perceives one's encoded self to be.

    One's DNA is in communication with other DNA utilising an archetypal symbolic language that encapsulates genetic memories being its signature song, sung by the Photon. This could then in turn determine one's conscious fixation of awareness in a particular consensual co-creative shared reality of a time line.

    One's DNA is attuned to an underlying web of light pertaining to a particular reality because of its intrinsic signature song. By weaving the web anew consciously from within the informational reality of the microcosm via lucid dreaming or through induced trance one can possibly tune into another reality by consciously re-formulating one's encoded self-image.

    One merely has to change the symbolic language form of the encoded Bio-Photon light song of the DNA from within the dream. One then finds that those changes wrought within will then externalise as one's physical reality. The change brought about within allows one to access a new web of a dreaming template underlying an alternate reality pertaining to the guise one has assumed within.
    The web of informational interconnections is symbolically associative in nature, which generates 'synchronicities' experienced as 'signs, portents and omens'. These synchronicities indicate one's shift in perception and directly correlates with the internally, consciously activated symbols of the dream; they reflect back as well as stabilise the reinforcement of the internal change to the self-image. The synchronicities generated can be seen as 'jump gates' into alternate realities associated with alternative time lines.

    Upon the back of Sleipnir, Ódhinn rode, journeying into alternate realities existing within a myriad parallel universe's as he observed the signs, portents and omens as doorways of opportunities leading him into other worlds. The other worlds Ódhinn journeys into are described in myth as being linked together by the world tree known as Yggdrasill. �Ygg� means the �terrible one� which would indicate the initial awe inspiring ingress and yet terrifying experience of trance, especially in relation to capturing that point between waking and sleeping, technically known as the Hypnogogic veil. �Ygg� can be seen as an internal �Stargate� of the Hypnogogic veil. �Drasill� is the horse and carrier of one's conscious awareness through the Hypnogogic veil between waking and sleeping into the conscious dreaming template of information and energy underlying physical reality.

    Yggdrasill is associated with nine principal worlds or 'states of consciousness' from which there are derived multiples of worlds based on the sacred number nine. These nine states of consciousness being a multiple of the number three and therefore associated with the three Norn sisters of the web. These nine states of consciousness or multiples of alternate worlds existing in parallel universes were seen to be resided over by Ódhinn's handmaidens and Witch wives known to the ancient Norse as Valkyries. The name Valkyrie means �she who chooses the slain�, one could also postulate that the slain are those of the self slain, who sacrifice themselves into and through their Hypnogogic hymen veils via self induced trance or consciously engineered dreaming.

    The Valkyries can be seen as stargate maidens whom act as psychopomps, guiding as well as initiating the conscious dreamer into other realities that they reside over as well as represent. The Valkyries symbolically represent Yoni information worm hole torsion tunnels that allow ingress into parallel �womb� universes; These myriad universes are connected by an underlying crystalline web of tunnels; each universe being an informational associative fractal pattern that one can envisage as fruit upon the world tree.
    The world tree can be seen to be a symbolic model of the Implicate Order postulated by the physicist David Bohm.


    �One of Bohm's startling assertions is that the tangible reality of our every day lives is really a kind of illusion, like a Holographic image. Underlying it is a deeper order of existence, a vast and more primary level of reality that gives birth to all the objects and appearances of our physical world in much the same way that a piece of Holographic film gives birth to a Hologram. Bohm calls this deeper level of reality the 'implicate' (which means �enfolded�) order, and he refers to our own level as the 'explicate', or unfolded order.�


    One can perceive the branches and roots of Yggdrasill as snaking out as �worm hole� torsion tunnels of light, linking the many realities akin to the Super Strings of a web holding the many universes as dew drops within its lattice work of light.


    "If one is going to travel from this universe to another one, one can reduce the size of the observer to an incredibly small size - in other words, three times ten to the sixteenth Planck lengths. One at this size is a good deal smaller than an atomic nucleus."


    The above quote was taken from the book entitled the "Dyadic Cyclone" by John C. Lilly, MD and his wife Antonietta Lilly. John C. Lilly has worked extensively in various fields of science, including biophysics, neurophysiology, electronics and neuroanatomy. The quote was taken from his observation of his own consciousness while within a comatose state induced by a rather severe life threatening accident. He found that his consciousness was transiting from one universe into another when he utilised as an internal focus the mathematical symbol for a "marked, unmarked state, called the Brownian Operator, represented by an inverted capital "L" akin to the horse head of that of the Knight Chess piece. His experience is rather Shamanistic, which gives an insight into the formula of the symbolic expression of Sleipnir and it's practical utilisation via trance and lucid dreaming.


    "My consciousness was placed inside the right angle of the large inverted capital L as it was written, as if it was a vehicle. This is a rather dangerous procedure. This meant that I was identified with the marked state, i.e. I existed. I was now riding the marked state as if it was a vehicle, but at the same time, I was the marked state. This means I was the consciousness, the signal that was being fed through the marked state outside myself. As soon as this happened, I transited explosively into the void. My consciousness was still intact, but there was no universe at all.

    I suddenly realised that this was the first step in the infinite series of marked state, unmarked state, unmarked state and so forth. So my consciousness then reassembled a marked state, got into the right angle and came out in another domain, i.e. came out in a new marked state."


    The Shaman would utilise the symbol of the horse as a carrier of consciousness into other realities, and when worked with via trance or through lucid dreaming the ability that the symbol encapsulates would be activated by its recognition. Sleipnir can be seen as being the organic representative symbol of the mathematical abstract, marked, unmarked state Brownian operator.

    The infinite series of marked, unmarked states is reminiscent of the marked "beats" and unmarked "spaces" between the beats of the trance inducing Shaman drum, which the Shaman is known to ride as a horse. Sleipnir can therefore be seen as Ódhinn's drum of ecstatic "gliding" trance.

    Each marked state is a universe inter-linked by unmarked doorway voids. As one gains ingress through the captured point of the void, one can set into motion the patterning of information that formulates around one's premise of charged emotive intent into another fractal universe.

    John c. Lilly also utilised another mathematical language besides the Brownian operator called "Topquantese", which one could associate with the organic symbol of Yggdrasill.


    "I also used the 'topquantese' language of Edwards in a much more developed form than I knew when I was in my vehicle on Earth. Somehow the topquantese language allowed me to collapse universes into the vehicle on planet Earth. I don't know how this was done; yet as I would go through a certain procedure, the universe would collapse in steps until finally it was my body and the surrounds of that body on this planet. This was a less explosive method than the Brownian operator."


    One's consciousness can be introverted into the underlying dreaming template, which is then reduced down to a point of singularity.


    "At these small sizes, space itself is indeterminate; one can move through galaxies, through universes, by going to this size and even move with far greater speed than the velocity of light. In other words, at these levels there seem to be doorways into other universes, doorways of very small size, but nonetheless, doorways."


    Through these doorways and internal Yoni stargates Ódhinn 'glides' into trance and thereby gains ingress into other 'explicate orders' of Hologram womb universes via accessing the dreaming 'implicate orders' underlying all of them. Each explicate order has its own unique underlying signature of an interference pattern of light which one can equate with a song. It is as if the DNA within each and every cell of one's body sings a song in accordance with the collective consensual song of one's experiential explicate reality.


    Ódhinn said: �I hung from that windswept tree, hung there for nine long nights; I was pierced with a spear; I was an offering to Odhinn, myself to myself �.

    �No one has ever known or will ever know the roots of that ancient tree�.

    �No one came to comfort me with bread, no one revived me with a drink from a horn. I peered at the worlds below; I seized the Runes and fell back�.


    Ódhinn offered his explicate self to his implicate self upon the world tree of Yggdrasill in order to win the secret songs of the Runes, which would allow him to gain access to other worlds, acquiring the wisdom, knowledge and power residing in each world accessed. Ódhinn was able to introvert the senses to access the song of the photon singing spear of light emanating from within the DNA double helix. Upon falling back into his Explicate self he was not of the Explicate Order of consensual reality that he had previously left behind. He had attuned himself to another Implicate Order underlying an altogether different Explicate Order of consensual reality upon his winning of the Runes. He travelled without moving riding Sleipnir, leaping into another reality by changing the signature song within himself, by naming himself anew.

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    Re: Sleipnir ? Traveling without Moving

    Thats fascinating! Odin-Wotan actually travels through all worlds and realities metaphysically and is a god of astral travel, thats something to make me think about trying astral projection again

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