Saint Michael the Archangel, defend us in battle. Be our defense against the wickedness and snares of the Devil. May God rebuke him, we humbly pray, and do thou, O Prince of the heavenly hosts, by the power of God, cast into hell Satan, and all the evil spirits, who prowl about the world seeking the ruin of souls. Amen.

the future exerts backward pressure on the present through the nervous systems of those sensitive enough to feel it coming; they twitch, they dream impossible things, they build devices nobody understands until the timeline catches up and suddenly everything makes terrible sense

The Rose Cross movement in fin-de-siècle Paris placed music at the center of its artistic vision because it was seen as the art form most capable of suggesting transcendence without relying on images or explicit narrative. Unlike painting or poetry, which necessarily depict or refer to something, music was understood as able to create meaning through pure sound, form, and atmosphere. Within this context, Erik Satie became especially significant. His approach to musical time broke with the dominant nineteenth-century model of tension, development, climax, and resolution. Instead, his music emphasized stasis, repetition, and harmonic stillness, shifting the listener’s attention away from forward motion and toward a sustained sonic environment. The result is often described as contemplative or even liturgical in effect: music that does not narrate or argue, but instead establishes a space for listening. From this perspective, the broader musical idea associated with the Rose Cross was that music could function as orientation rather than entertainment or emotional expression. Sound was treated as a medium capable of shaping consciousness, not merely reflecting it, where qualities like harmony, proportion, and structure were thought to guide attention toward something beyond immediate sensory experience. This intuition continued well beyond the movement itself, reappearing in very different forms across twentieth-century music, in the work of composers such as Scriabin, Stockhausen, Cage, and Arvo Pärt. Despite differing techniques and aesthetics, they shared a recurring idea: that music is not only something to be heard, but something through which human perception and awareness can be directed toward deeper states of meaning or reality.

The recurrence of the hexagon in nature is extremely fascinating. It actually is unironically all about “energy, frequency, and vibrations” bros. lol. nature.com/articles/s41598-0… @grok