There are many aspects to The Kalendar and Lingua-U that are still under development and need quite a bit of work before they’re ready for the light of day. One of these is a Konstruct that I’ve been calling the New Map of the Heavens (NMOTH), a new arrangement of the Divine Names into a semblance of order that resonates with the entirety of my vision.

It’s a little embarrassing actually to think that my project involves such a grandiose aim, a sort of landscaping of how the “heavens” and their “occupants” are conceptualized on the Earth. And yet the project fell into my lap as a necessary ingredient of the Work. I could not allow a pose of false meekness to interfere with the full scope of the worldview artistry with which I felt myself tasked to complete.

I make no claims to perfection of insight. I will only impress upon you my utter sincerity in performing the work of the NMOTH as a man who been mentored by angels in a task of cosmic significance. I promise to take the map-making with a great seriousness of intention.

I will be writing about God. The gods. Goddess. The goddesses. Divinities by many names. People live and die by their beliefs concerning such matters. Some people will give up their lives for their religious beliefs about God; some people will even kill over these matters. It is not an easy task to write about the Heavens given the white-hot heat and explosive passion which the subject invokes in many millions of people.

Therefore, before I begin to write a series of posts for this blog over the next year or more, I want to do more than tell you that I’m doing my best (which I am). I want to give you some personal reflections on what it means for me, to me, to be attempting to design a New Map of the Heavens. Why in the world would I bother with such a task?

According to my family lore, my grand-uncles on my mother’s side of the family — men of the Lara surname — painted the ceilings of cathedrals in Guadalajara, Mexico. I saw a few of these ceilings once some 15 years ago. They were gorgeous. And yet I could not quite step into a stance of holy reverence that I think they probably hoped to inspire in onlookers.

If the spirits of my artist ancestors were looking over me, I hope they were not too disappointed. I was disenchanted from religion. Too, I was disenchanted from philosophy and materialistic American culture. Like so many young people who have felt themselves condemned by religion for who they are, I felt disenchanted and disconnected from all the ways that other people made meaning out of reality.

I had not yet achieved a spiritual perspective that would allow me to accept what is and simply be in the midst of a complex process of growth. Over the course of the 14 months tracked by my spiritual chronicle Soulfully Gay, I found a new outlook through Integral Spirituality as it looked from my unique perspective.

As powerful and life-changing as the events of that tale were for my 34-year-old self, it took more than a decade longer to stabilize and deepen the year’s gnosis. Along the way, I came to realize that the Integral map wasn’t enough for me. It only helped me to organize paradigms and concepts about reality, but it did not seem to penetrate to my soul, where I increasingly began to perceive the lingering toxins of chaotic, maddening symbolic consciousness.

And to be fair, I’m not sure that the highly technical Integral maps of Ken Wilber ever really promised that they would (a task better suited for the gorgeous poetic prose of Ken’s mystical writings). The maps of Integral Theory were written largely for readers who were advancing into the philosophical questions raised by cross-cultural interdisciplinary research using multiple, conflicting methodologies for sorting and organizing information about human nature.

The light shone by the Integral maps that I found most useful faded into the darkness of an esoteric territory when it came to matters of the soul. I headed into that territory with foolish confidence and encountered some major emotional and spiritual trauma (and the aftermath of post-traumatic stress), despite my best efforts and the aid of saintly and angelic and divine spiritual resources who drew near to me in support.

At last, after many abandoned books and missteps in my private and public writings, the nature of my mission in the world finally dawned on me. Some might call me by any one of various religious titles for holy men. And some might simply say I am one of many thousands of living souls who have achieved a relatively evolved state for ego-maturity or along another line of psycho-spiritual development. Whatever. I flirted with various labels with spiritual significance to me, but ultimately came to sense my calling as a Worldview Artist.

What do I mean by Worldview Artist? In my case, it is a calling to reunite a wholeness of body, soul, and spirit in individual and collective dimensions through Artworks that demonstrate a living divine/human consciousness doing what any divine/human being would do in our day: delivering their Unique Mission on behalf of the liberation and redemption of all sentient beings. In my case, I drew inspiration from the most ancient of all sacred literature (written in Sanskrit which I could not read): I realized that what I had to do was to create new Sutras. Not just any Sutras, but Art emanating from a new metalanguage and metagrammar that could repair the source code of human existence at the spot where I perceived it to be most broken: in our languages which had grown decadent and cacophonous.

If you have been reading my new blog, then you have probably seen some of the fruits of this endeavor: hints of the Lingua-U metalanguage with its codex, day-by-day unfolding of a new chronology of sacred time inspired by The Canon of Supreme Mystery of Yang Hsiung and the Sabian Symbols of Elsie Wheeler, and depictions of some of the Artworks that are helping me to fulfill my sacred vocation. I’m sorry that there isn’t more done. I’ve done my best, and new writings are coming out every day. (There is a lot of busy-ness that goes along with the Sutra-writing: my day job that pays the bills, spending time with family and friends, attending to my health issues, and finding conversation partners in social media and real life.)

The New Map of the Heavens is that part of my ouvre which, when complete, will define my work within a theological context (e.g., God-talk). Even though it is not yet written, it is already reasonably well formed in my imagination and the scribblings in my notepads. Not unlike how the original Sutras of India found sacred speech to be a divine cosmology in itself, the NMOTH uses the symbols of metalanguage (Lingua-U) as a meta-cosmology, a new way of talking about The Way Things Really Are And Could Be.

By taking everyone’s Sacred Words seriously, and not just the sacred symbols of one holy language (Sanskrit, Hebrew, Greek, Arabic, etc.), I believe the meta-cosmology of the NMOTH is comprehensive enough to give an honored, dignified place to the Divine Names of every culture and every religion of holiness.

Therefore, virtually no one should feel that their sacred texts have been marginalized or excluded from the meta-cosmology. But the world looks different on the other side of a meta-cosmology, and not everyone is going to embrace such a radical (root-oriented) solution to problems posed by religious (and, indeed, all types of) speech. At the same time, in matters regarding deeply felt ultimate concerns, it is natural for people to “root for the home team” and hang on to ethnocentric preoccupations, projecting winners and losers unnecessarily and inaccurately.

And so, having said what I said, let me lay out a few more cards on the table.

In the New Map of the Heavens of my Worldview Artistry, there are 40 territories: one, undefined; three, defined by three of the four primary vowels; nine, defined by secondary vowels and the fourth primary vowel; 27, defined by consonants. Although I am speaking now of vowels and consonants, I mean more fundamentally their subtle energetic correlates (e.g., yang-yang-yang for B, yin-yin-yin for K, and yung-yung-yung for Y).

It remains to be seen how detailed and defined each of these territories will become over the course of time, but it is already clear to me that one Divine Name is to be assigned or ascribed to each of the 39 defined territories (but not the undefined one). To learn what Divine Names I have selected at the inception of the NMOTH, you will have to continue reading this blog to see what I have to say.

But I will tell you the three names that I am presently associating in three key positions representing the deepest and most fundamental aspects of Unity.

At the territory of the Heavens for yung, known to the primary vowel U, there is the Divine Name of Utu, the “ancient Mesopotamian god of the sun, justice, morality, and truth.”

As I proceed in my worldview artistry, I ask for the support and guidance of God through the Divine Name of Utu, that God may bless it and make it a holy instrument of Unity, Peace, and World Harmony.

At the territory of the Heavens for yung-yung, known to the primary vowel AA, there is the Divine Name of Allah, “the Arabic word for God in Abrahamic religions”. With the aid of the Archangels and holy spiritual servants of God who have supported my work through difficult times, I beg Allah’s support and guidance for this work of sacred importance. May He minimize my mistakes and set me on a path suitable for His Will.

And finally, at the territory of the Heavens, for yung-yung-yung, known to the consonant Y, there is the Divine Name of Yahweh, the name given to me by my Catholic faith in reference to the God who gave His Name to Moses as, “I Am Who I Am”. May I abide in Yahweh’s Love throughout the task of my Worldview Artistry… and receive forgiveness for my sins in the manner which God prescribes, a manner which I presently lack the words to describe.

This is not a polytheistic pantheon, in my theological reckoning, but all aspects of Allah, The Greatest Name of God, All-in-All, The Yung Master at the Seat of Outwardness at the Throne of Alleluiah, The One in Whom the Spirit/Sofia/Shekhinah Dwells, Allah in Whom all other Divine Names arise, subside, and segue into the suchness of God as the Unique Universal of our lives and all reality, sometimes disappearing from our sight, past the Uyauyaashi Yaaga Mother, at the Silver Stars/Black Stone Solstice into the Always Already Yule.

And so I will now set out to describe artistically a new mandala for arranging the Holy Names in a Yantra of Kosmos, imperfectly but to the best of my ability, so that the wisdom and power of the diversity of their Names may be a greater strength in unity than separate. May Allah send ʍɪ, ʍə, ʍau (His/Her/Their) Blessings upon the latest project for this descendant of Mexican cathedral painters.

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