En bonus : une capsule d’inspiration Amélie Poulain

Le Jour des morts, peint par William Adolphe Bouguereau (1859)

La Commémoration des fidèles défunts est une fête des morts chrétienne qui a lieu le 2 novembre, le lendemain du jour de la Toussaint, selon le rite ordinaire.

Selon le calendrier liturgique tridentin, elle est reportée au 3 si le 2 tombe un dimanche (rite extraordinaire).

Origines

La Commémoraison des morts, appelée aussi jour des Morts ou fête des Morts, a été instituée pour obtenir de Dieu qu’il délivre ou soulage les âmes du purgatoire.

L’office des morts prend son origine dans la veillée des morts que les premiers chrétiens faisaient à l’exemple des juifs. Dans les premiers siècles du christianisme, des prières, et ensuite des messes, sont dites pour les défunts.

Les premiers textes qui parlent d’un office spécifique pour les morts datent du IX^e siècle. Amalaire, diacre puis abbé de Metz, en fait mention dans De ecclesiasticis officiis écrit vers 820. En 998, Odilon, abbé de Cluny, institue, le 2 novembre, une journée consacrée à la commémoration de tous les fidèles trépassés. Le pape Léon IX (pape de 1049 à 1054) approuvera cette décision. La commémoration des fidèles défunts se répand alors dans toute la chrétienté. Au XIII^e siècle, elle entre dans la liturgie romaine et devient une fête universelle dans l’Église.

Si elle commémore les défunts, cette célébration, est aussi, en un sens, la fête des vivants. l’Eglise catholique professe la foi en l’immortalité de l’âme. La prière pour ceux qui nous ont quitté est ainsi marquée du sceau de l’espérance. “Ceux qui sont passés sur l’autre rive sont aussi, et davantage, vivants que nous”^[1].

Chez les Grecs, cette commémoraison se célèbre le samedi avant la Septuagésime. Chez les Arméniens, le lundi de Pâques.

WIKI

‘Born a son of the maritimes in Marblehead, Massachusetts in 1970. Brad headed west in 1991 and eventually studied printmaking and painting at The Evergreen State College. Brad now lives in Montréal‘.

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Ça me rappele un peu  l’Agneau de Francisco Zurbaran.

From The Center for Tactical Magic:

The CTM presents a new interrogation of power dynamics. Existing at a technological crossroads where torture, recreation, magic, and self-liberation merge together, Witches’ Cradles (2009) are an interactive public installation based on a contemporary re-envisioning of a medieval torture device.

“During the witchcraft persecutions in Europe, Inquisitors are said to have sometimes put an accused witch in a bag, which was strung up over the limb of a tree and set swinging. When witches’ learnt about this punishment they experimented with it themselves and found that the sensory deprivation or confusion of senses induced hallucinatory experiences. A similar swinging motion has long been used by shamans and dervishes and is sometimes known as ‘dervish-dangling.” – Encyclopedia of Occultism and Parapsychology

Devised initially for interrogation and torture, the witches’ cradle was eventually reclaimed by its potential victims for flights of fancy and inward journeys to altered states of consciousness. Since then, the past 100 years alone have shown us an array of antecedents that cast both shadows and light on the witches’ cradle, ranging from backyard tire swings to mob lynchings; from New Age sensory deprivation tanks to the haunting images from Guantanamo Bay. Even Houdini’s famed illusion, Metamorphosis (in which he freed himself from a locked and tied canvas sack), promised “self-liberation” and “change in 3 seconds.”

The Center for Tactical Magic’s re-envisioning of the witches’ cradle plays on these historical notes while suggesting a present-day desire to conjure positive transformation. Each cradle consists of a large 5-pointed star designed to simultaneously evoke its magical origins, imperial state power, and a cosmic source of light amidst darkness. After sitting in the center pentagon, the points of the star close overhead as the cradle is hoisted off the ground, allowing the participant to swing gently in the darkened center of the collapsed star. Like a black hole, a holding cell, or a metaphysical amusement ride, the Witches’ Cradles distort time and space. It is at this event horizon that the Witches’ Cradles create a place where one can begin to realize an altered state and contemplate the next course of action.

The Witches’ Cradles can be experienced at the Shift Festival of electronic arts and new media in Basel, Switzerland running from Oct 22 – 25, along with our collection of contemporary Wands. This year’s theme for Shift? “Magic. Tech-Evocations and Assumptions of Paranormal Realities”… Enough said.

More info can be found here.

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Thee infamous PSYCHICK BIBLE from Thee Temple Ov Psychick Youth receives an updated, expanded, corrected edition, compleat with dozens of new visuals and essays. It’s a sewn-bound hardcover, compleat with ribbon. Thee 544 pages within are printed in two colors on high-quality, acid-free 100% recycled paper stock.

This signed, numbered, limited edition (999 copies only) includes a remarkable DVD of impossible-to-find videos from Genesis P-Orridge archives of early Psychic TV and TOPY creations, which includes the work of Peter “Sleazy” Christopherson and Derek Jarman.

The artist, BREYER P-ORRIDGE, says about this edition: “It has been a revelation and become very thrilling for me to see 30 years+ of social, ritual and communal creative explorations condensed into what we feel may become the most profound new manual on ‘practical magick’ taking it from its Crowleyan level of liberation and empowermeant of the Individual to a next level of realization that magick must then give back to its environment, its community, become about liberation and empowermeant to change this ‘world’ and evolve our humanE species.”

Hazel Hill, designer and artist from Los Angeles (www.madeofthis.com), met Genesis through Adam Parfrey (owner and director of Feral House Books). The two entered the project as friends and have come out as life-long devotes to each other and most importantly, Lady Jaye.

Thee price is $69 plus shipping, and can be obtained directly from Feral House.

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Entrevue réalisée dans le cadre de l’émission portant sur les Icônes … À  regarder ici.

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Pour faire suite au ‘Top 5 – Audio Cassettes Thaumaturgiques‘ … Merci Julie Rainville.

Images trouvées suite à la publication de photos d’Annie-Ève Dumontier sur OK Great.

‘MEXICAN ALTARS’ SOURCE

Retirés en 1978, dû à leur état de détérioration avancé, les 2 groupes de statues qui ornaient depuis 1910 la façade de l’église St-Enfant-Jésus-du-Mile-End sont désormais entreposés depuis plus de 3 décennies dans le sous-sol de l’archidiocèse de Montréal.

Plus de photos ici / Plus d’informations ici.

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