AMY ALTJERINGA : The Fifty-Eighth Spirit is Amy or Avnasi. She is a Great President, and appears first as a flaming Fire or as an Orb of Flame; but after a while she puts on shape as a quick witted playful and highly inquisitive Aborigine Girl wearing next to nothing apart from a colourful Rainbow vest. Her office is to make men wonderfully knowledgeable in Astronomy and all the liberal sciences as well as to bestow the power of 'Conscious Dreaming' so that to know of the Bio-Photon 'Song-Line' Matrix of the Dreamtime.
Amy gives good familiars, and can bewray treasure that is kept by Spirits, whom in vivid Dream and Vision will skillfully blow her Master's Didgeridoo of an erection so as to Light up his head Orgasmic whereby he will then perceive far-off places to that of other Stars and Times to Dream Travel along the back of the Rainbow Serpent as a Firey Orb. Many a Dreamtime story she will relate of times most ancient for the Aboriginal Australians have one of the oldest ongoing traditions since the dawning age of Humanity. She governs 36 Legions of Spirits likened to her self.
DOR-MOUSE OF STARGATE LOOKING GLASS DOOR DREAMTIME
One could imaginatively associate 'Amy' with the 'Dormouse' whom sat between the March Hare and the Mad Hatter of Pylons from out of 'Alice in Wonderland' of surreal tale to make feminine of expression. The March Hare and the Mad Hatter were using the Dormouse, while it slept, as a cushion when Alice arrives at the start of the chapter of the story. One can equate the Dormouse’s in-between state of Sleeping and Waking with the experience of 'Hypnagogic' Trance and that of the Aboriginal Australian experience of the Dreamtime to perceive the Waking World and that of the Quantum Dream as being indivisible from the other.
The Dormouse is always falling asleep deeply 'Dreaming' during the scene to thence wake up every so often, yet still within a state betwixt Mad Hatter Waking and March Hare Sleeping to say:
‘You might just as well say,’ added the Dormouse, who seemed to be talking in his sleep, ‘that “I breathe when I sleep” is the same thing as “I sleep when I breathe”!’
The Dormouse also tells a story about three young Girls who live in a Treacle well, whom live on Treacle, and draw pictures of things beginning with 'M', including Mousetraps, Memory and Muchness. Carroll appears to be referring to the Norse myths where one has a Well of ‘Memory’ known as the Well of Mimir into which the Shamanic deity Odin, whom was known as Woden to the Saxon’s cast his Observational Eye into of Self-Sacrifice, as well as referring to the Well of Wyrd, which is frequented by the Three Sisters of Feminine Norns/Fates.
Eventually the Mad Hatter and the March Hare put the head of the Dormouse into a Tau-Field of 'Tea-pot;' which Carroll may be referring to of Hebrew 32nd Cabbala path of 'Tau' and that of associative word play with the letter 'T'. The Hebrew letter of T-Tau, was later perceived as the Tau-Field, which has a similarity with the theory about the Morphogenetic-Grid; the prior in depth understanding of such concepts is that of the Aboriginal Australian experience of the Dreamtime. The Dormouse later appears, equally Sleepy, at the Knave of Hearts’ trial and voices resentment at Alice for growing her Consciousness beyond its bounds, and its last interaction with any character is that of being “Suppressed” (amongst other things) by the Queen of Hearts for shouting out that Tarts are made of Treacle, which would be quite apt for Carroll's Materialistic Queen Victoria to voice whom ruled over the British Colonialism of Australia, which 'Suppressed' the indigenous Spiritual Aboriginal Culture of the Dreamtime.
ABORIGINAL RAINBOW SERPENT QUANTUM DREAMING
The Spiritual perspective of the Australian Aborigine is one of the oldest Spiritual world-views upon the planet whose underlying message is none too different to present Quantum Theory. Within the ancient animist framework of Australian Aboriginal mythology, The Dreaming or Altjeringa (also called the Dreamtime) is a sacred 'once upon a time' wthin which ancestral Totemic Spirit Beings formed 'The Creation' of ones experiential physical reality.
The Physicist Fred Alan Wolf opens "The Dreamtime", of a chapter within his book The Dreaming Universe (1994), with a quote from The Last Wave (1977), an Australian film directed by Peter Weir:
"Aboriginals believe in two forms of time; two parallel streams of activity. One is the daily objective activity, the other is an infinite spiritual cycle called the 'Dreamtime', more real than reality itself. Whatever happens in the Dreamtime establishes the values, symbols, and laws of Aboriginal society. It was believed that some people of unusual spiritual powers had contact with the Dreamtime."'
We all experience having Dreams while we sleep, whether we remember them or not; however, the Dreams most people have tend to be a form of mental miasma whose symbolic expression is chaotically surreal within which one is totally unaware until one awakens. There are other levels of Dreaming, far deeper of layer, which allows ones consciousness to be very much aware within the Dream (Lucid Dreaming and Out-Of-Body-Experiences) whose realms reveal another order of reality. Aboriginal Australian’s consider Dreaming to be very important whose reality is beyond the mental miasma of normal Dreams, which most people experience. The Dreaming is often used to refer to an individual's or group's set of beliefs or spirituality. For instance, an indigenous Australian might say that he or she has Kangaroo Dreaming, or Shark Dreaming, or Honey Ant Dreaming, or any combination of Dreamings pertinent to their experience of the Microcosmic spiritual realms underlying the Macrocosmic "country" through which they are travelling at a given time, for each part of the land has differing energetic qualities whose energy affects ones consciousness. Many Indigenous Australians refer to the Creation time as "The Dreaming" for the Dream is the (Implicate Order) Quantum realm underlying Matter from which the Physicality of ones everyday experiential reality stems, whereby the (Implicate Ordered) Dreamtime laid down the patterns of (Explicate Ordered) life for the Aboriginal people.
Dreaming stories vary greatly throughout Australia, with variations on the same theme. For example, the story of how the birds got their colours is different in New South Wales and in Western Australia. The Dreaming stories cover many themes and varying topics, as there are stories about creation of sacred places, land, people, animals and plants, law and custom, which informs the diversity of creativity and is never static of dogma. It is a complex fluid network of knowledge, faith, and practices, which derive from the Dream stories of creation. The Dreaming stories pervade and inform all spiritual and physical aspects of an indigenous Australian's life.
Indigenous Australian’s believe that every person essentially exists eternally in the Dreaming. In other words, ones Consciousness is of the infinite Quantum realm within which it resides while the physical body is but a vehicle for ones eternal Consciousness. Ones eternal Consciousness existed before ones physical life began, and continues to exist when ones physical existence ends. Both before and after life, it is believed that the eternal Consciousness of a Spirit exists in the Dreaming and is only initiated into physical life by being born through the Mother. The Spirit of the child is culturally understood to enter the developing foetus during the fifth month of pregnancy. When the Mother felt the child move within her womb for the first time, it was thought that this was the work of an Ancestral Spirit emanating from the land upon which the Mother stood. When the Mother gives birth, the child is then considered to be a special custodian of the part of the country from whence the Spirit stemmed and is taught the stories and Song-Lines of that place. As Wolf (1994: p.14) states: "A black 'fella' may regard his totem or the place from which his Spirit came as his Dreaming. He may also regard tribal law as his Dreaming."
It was believed that, before humans, animals, and plants came into being, their 'souls' existed within the infinite and eternal realm of the Dreaming; they knew they would become physical, but not when. When the time came, all but one of the 'souls' became plants or animals, with the last one becoming human and acting as a custodian or guardian to the natural world around them. It is a memory of a time and place when all Carbon-Based-Life-Forms first took to the stage of life.
Traditional Australian indigenous peoples embrace all phenomena and life as part of a vast and complex system of interrelated relationships which can be traced directly back to the Ancestral Totemic Spirit Beings of The Dreaming. This structure of relations, including numerous food taboos, had the result of maintaining the biological diversity of the indigenous environment. It may have also helped prevent the over-hunting of particular species.
The Dreaming establishes the structures of society, rules for social behaviour, and the ceremonies performed in order to ensure continuity of life and the environment. The Dreaming governs the laws of community, cultural lore and how people are required to behave within their respective communities. The Spiritual condition of ‘The Dreaming’ is attained when people live according to ancestral law, whereby living the lore of the ancestors so as to perpetuate initiations and Dreaming transmissions or lineages, singing the songs, dancing the dances, telling the stories, painting the Song-lines and continued Dreamings.
The Creation was believed to be the work of ancient culture heroes who travelled across a formless surreal landscape of Dreams, which was as yet to take on a defined form, creating sacred sites and significant places of interest in their travels. In this way the Song-Lines were established, some of which transverse right across Australia, through as many as six to ten different language groupings. The Songs and dances of a particular Song-Line were kept alive and frequently performed at large gatherings, organised during good seasons. One also has a similarity of the Song-Lines with the ancient European Ley-Lines, Chinese Dragon Paths and Mayan Dream paths, which the Kogi of Colombia also speak of as well as other numerous cultures along whose routes the Spirits of the ancestors travel like that of a Spiritual bloodstream coursing through veins underlying the land; however, in many cases their Songs have been lost, most especially in Europe while the Aboriginal Australian's still remember their ancient Songs.
In the Aboriginal world view, every event leaves a record within the crystalline structure of the land whose matrix holds ancient memories, which one can access through the Song-Lines via the Dreaming. Everything within the natural world is a result of the actions of the archetypal beings residing within the Dreaming, whose actions created the world. Whilst most Europeans consider the aboriginal cultural ancestors to be mythical just as they see their own, (should they remember at all) many Aboriginal people believe in their literal existence; but then the Aboriginal peoples have a conduit of contact with their archetypal beings through their Dreams, which the majority of Europeans have withered away as an ability due to the fact that they do not see that Dreams have any importance whatsoever let alone to be aware of its depths to go beyond their mundane Mind miasma born of Ego wherefore they are quite blind.
The meaning and significance of particular places and creatures is very much entwined with their origin within the Dreaming, and certain places have a particular potency, which the Aborigines call its Dreaming, which one can also find in the ancient pre-Christian European traditions where one has sacred places marked out by distinctive land-marks and standing stones.
Within the Dreaming of the Quantum realm resides the sacredness of the Earth. For example, in Perth, the Noongar believe that the Darling Scarp is said to represent the body of a Wagyl, a Serpent being, which meandered over the land creating rivers, waterways and lakes. It is taught that the Wagyl created the Swan River. In another example, the Gagudju people of Arnhemland (after which Kakadu National Park is named) believe that the sandstone escarpment, which dominates the landscape of the park had been created within the Dreamtime when Ginga (the Crocodile-Man) was badly burned during a ceremony and jumped into the water to save himself; he turned into stone and became the escarpment. The common theme underlying these examples and of similar ones is that topographical features are either the physical embodiments of creator beings or are the results of their activity. It is via the Dreaming one can commune with the Symbolic interface of these archetypal beings whereby one can then access the memories of the land in order to then attain Ecological Symbiosis and Interspecies Communication with other creatures within the environment.
In another version of the Dreaming (there are many Aboriginal cultures), Altjira was the God of the Dreamtime; he created the Earth and then retired as the Dreamtime vanished behind the veil of the material world. Alternative names for Altjira in other Australian languages include Alchera (Arrernte), Alcheringa, Mura-mura (Dieri), and Tjukurpa (Pitjantjatjara).
The Dreaming and travelling trails of the Spirit Beings are the Song-Lines (or "Yiri" in the Warlpiri language). The trail signs of the Spirit Beings are their spiritual essence such as physical remains where one can find Petrosomatoglyphs of body impressions or footprints, amongst natural and elemental simulacrae. In other words the archetypal entities encountered within the Symbolic domain of the Dreaming have a correlation with specific Macrocosmic temporal locales while the archetypal entities themselves one could perceive as Microcosmic Informational templates underlying the physical locales. The Informational templates, which are the underlying energetic signature of various temporal locales express themselves at a Subconscious Symbolic level within the Dreaming as associative Animals whom symbolise varying qualities. To cite an example, the Yarralin people of the Victoria River Valley venerate the spirit Walujapi as the Dreaming Spirit of the black-headed Python. Walujapi carved a Snakelike track along a cliff-face and left an impression of her buttocks when she sat establishing camp. Both these Dreaming signs are still discernible. One can also find many ancient similarities in Europe in regards to natural landscapes of distinctive characteristics as well engraved stones, which are carved in intricate Serpentine designs. This ancient Dreaming logic gave rise to the various totemic Animals, which were adopted by various (locales) countries whom symbolise the energetic quality of not only the land but also that of the peoples living upon it whereby through Dreaming one can commune with an archetypal entity of an Animal in order to access the energetic quality of a country.
The energetic quality of a locale is that of the 'Photon' for everything is made of light (Fire) whose Matrix can be accessed through the Dreaming for ones Dreams are suffused with the light of the Bio-Photon, which connects one with all other Carbon-Based-Life-Forms as well as the land. This light formulates its self into a Grid pattern like that of a Web (Matrix) whereby one has the Aboriginal Song-Lines, which in pre-Christian Europe the Anglo-Saxons called the Web of Wyrd whose threads are the Ley-Lines that had their own Rune Songs.
One can thereby gather that there was once an ancient worldwide understanding between differing cultures whom shared a similar perspective concerning Song-Lines, from Europe to Asia, Africa to China, the Americas to Australia as well as many another peoples who called the paths of the Spirits by differing names but all pointing to the same experience of the Dreaming.
