Tag Archives: Astral Plane

Mystery Achievement

I don’t have a beginning to this story. I tried to invent one but I can’t so I will start in the middle. There are two people in the story. A writer, slightly paranoid and prone to bouts of depression – that would be me. The other an artist. Hilma af Klint, a pioneer of modernism. Her genius a testament to fortitude. The magnitude of her achievement in direct proportion to the degree with which she toiled in obscurity. You’ve never heard of her because she created her work in secret. Ignored and unseen. Maybe that’s the beginning. I don’t know. I’ll put it in and see if the story will allow it to remain.

Our paths converge along a spiral. There are no straight lines in this story. It is spring in London. The artist is dead. I am not. Though the truth of that statement, at least from a quantum perspective, is arguable. I will tell you what else you need to know.

I am in London because I have been asked to speak at a seminar about women and film. Specifically I have been asked to address the role of women in the heroic adventure. My answers in no particular order; second fiddle. love interest. damsel in distress. cliche. I’m not sure how much more can be discussed on the subject but the men in charge are certain there is. They say things like: We hear all this talk about female agency but how can a woman be truly heroic? And Isn’t motherhood the apotheosis of female heroism? It is an exercise in frustration. A reminder of what Woolf called the subconscious Hitlerism in the hearts of men.

Now I am standing in Kensington Garden. It is raining. I have no umbrella. I go inside a gallery located in the middle of the park. This is where our stories intersect. Mine and Hilma’s.


The scene is the Serpentine Gallery at an exhibit called Painting the Unseen. I am drawn to the work immediately. Shades of Malevich and Kandinsky, Klee and Nagly but this is the female gaze so everything is grander, smarter, and imbued with emotion. There is something unknowable about the work. As if its truth is larger than the sum of all its pieces. It is a secret that begs to be known. Here are the assembled facts as they were told to me.

Born in Sweden in 1862, Klint studied at the Academy of Fine Arts in Stockholm and becomes an accomplished landscape and portrait artist. This is her public art and how she earns her living; but her life’s work is a separate practice. In 1905 she is commissioned by a spirit on the astral plane to make art for the future. She accepts the commission, travels back and forth to the plane for a period of time and then creates the body of work which graces the walls of this gallery, where I stand today. Titled The Paintings For the Temple the commission is comprised of seven different series totallying 198 paintings. Her work predates all the modernists. The catch – and it is a large one – so large it knocks your breath away and leaves you gasping for air. The catch is no one knew about her work because she created it all in secret. Then, as if she couldn’t be too careful, she requested that the work not be publicly revealed until at least 20 years after her passing. She died in 1944.


This story is also about female desire; to create; to live a life of your own choosing. It’s also about female agency which means it must also be about the loneliness of isolation and the pain of being unseen and unheard. It’s about a life lived as if it were a thought experiment. And it’s about the will to create in spite of all that. It is a story about many of us, told through the prism of one of us. Now we have to unpack the deeper story. Find the dents and omissions. Explode the logic of it in favor of the truth. 1905. Stockholm. This is as good a time as any to begin.


1905 is not a good year for a working woman in Stockholm. In particular it’s not a good year for a woman artists in Stockholm. At the Academy, men who had supported their female colleagues to achieve some independence, start to feel an increasing competition from them, resulting in a backlash. And it’s not just there. It’s everywhere. A woman unwilling to marry is viewed with suspicion. Lesbianism is now seen as a threat to the social order. The femme fatale comes into being. The push for women’s suffrage has brought out a cast of ugly reactionaries. The religious right. Conservatives. Fear of social decline in the air.

On a Wednesday night, Hilma writes in her journal a message from her spirit guide, Amaliel. You have mystery service ahead, and will soon enough realize what is expected of you. Hours earlier at a seance with her group Da Fem, the spirit – Amaliel – commanded her to be the Medium. She took the pencil and began to draw. Not the usual scribblings. For years it has been nothing but scribblings. But on this night it is different. The drawing has shape and form without being representative of anything. It is remarkable because it is original. She is keyed up, unable to sleep. She feels this is the start of something special.


This scene is in her studio. Amaliel is with her. He’s on the Astral Plane but is visible in the faint overlay. He wants her to paint a series of works for a temple. She accepts the commission freely. He whispers in her ear as she paints. He possesses a kind of brutish physical charisma. It’s easy to see why she said yes.


Time jumps. She shows this painting to her friend Anna and the other women at the Academy. I think some of them are in Da Fem. Hilma is energized by the work but the women think it’s inappropriate. Is it even a painting? Anna is more pointed. You’re putting everyone at risk with this work. The men at the Academy want the women painters kicked out. The work is too original. It will be considered subversive. They tell her to stop making it. She doesn’t listen.


Hilma finds solace at the Theosophical Society. The occult is a popular pastime with the Swedish aristocracy. There is great fascination for invisible phenomena. Scientific discoveries, such as x-rays and electromagnetic waves reveal a hidden world beyond our grasp.

Hilma is heavily influenced by the work of Madame Blavatsky and Annie Besant. Her understanding of occult physics, chemistry and mathematics is unusual and very much ahead of her time. Theosophy has taught her that the spiritual masters are not cold far-off stars. They are physical beings concerned with the direct teaching, training and helping of humankind. Amaliel is one of these teachers. And Hilma is drawn to him. The pull of her desire is almost erotic in nature. She wants to talk to Amaliel. She tells herself it’s about the commission, and it is, but there’s more to it than that.


Last night, Hilma travelled to the Astral Plane. Her ether body separated from her physical body. You think this act would be quiet as a whisper but it’s not. It’s loud. Like a steam hammer. Her ether body literally rolled out of her physical body. Then she walked out her window – on the fifth floor of her apartment building. She had arrived at The Astral Plane.

It looks like a city in Western Europe. Electric street lights, apartment buildings, horse traffic, the odd car and delivery van. The inhabitants are dressed in a kind of punk Victorian Style.

She was filled with wonder and astonishment until she saw her physical body floating nearby. It’s the most unnatural thing a person can see. A sense of fear rose inside her. Could she get back in?

There were two men, hovering in the shadows. They clocked her fear and approached. In these parts they’re called Shades. Their divine spirit has left their ether body but their baser id instincts remain behind. Hilma saw them and was afraid. Her anxiety bubbled up causing a tooth to fall out. She reached down to get it but another one fell. And the Shades moved in. Hilma became upset and clawed at them. They shoved her back and wrestled over the teeth – until a man came.

It was Amaliel. He told Hilma to control her thoughts. Thoughts have power on the plane.


I approach Hilma and Amaliel in his apartment. She is peppering him with questions that he claims she already has the answers to. He doesn’t like her being here. It’s not safe. Hilma ignores his concern. She asks: How am I supposed to make paintings that represent the immortal aspects of man?

He replies, Explore the truths that lie beneath existence. Go beyond the limitations of the senses.

There’s a book on a shelf. And on the the spine a small golden Glyph. The symbol of Jupiter. She removes it and asks him to teach her. I linger in the background as they work side by side.

He points to the illuminated glyphs and sacred geometry on each page and explains what they mean: Spiritual elements; body, fire, sexual energy. Hilma listens but she is also drawn to the the tattoos on Amaliel’s arms. They extend from the tip of his fingers all the way to his neck. She runs her finger over them. Noting the intricate knotwork patterns and complicated symbols. The attraction between them is deep and pure, a reflection of the unseen unity.


On another night Hilma sits beside Amaliel working but her attention is drawn to a flicker of color that appears through the bedroom window. She crosses to the doorway and nudges the door open. There is a bed, a chair and a wall of windows. A film plays out against the building across the way. How do I even begin to explain it?

The images are lyrical, almost experimental in feel. They run from the broadly drawn to the utterly specific. They include war and violence and even brute nature but there are also grand cosmic displays, births and small moments of joy experienced by random people. It’s an expression of faith and hope in an imperfect world. Amaliel says it is the memory of the universe. Proof of our boundlessness. A declaration that we matter.


The Stockholm Art Academy is at war with Hilma and Hilma is in the middle of a reasonable happiness. I pick up the story on a night in her studio. Amaliel visible through the transparent overlay. Watching now, no longer whispering in her ear. Hilma is free to create as she pleases. Her strokes of color give way to form. Spirals coil like whirlpools. Others pull apart into loops or shine like the inside of a light bulb. She is deep inside her process. There is no thought, there is only the doing. But by tomorrow her work will be discovered and she will be kicked out of the Academy. Her devastation will give way to the news that her mother is going blind.


How can she be the chosen one? Realistically? It makes no sense. She has no allies and no institutional support. This is the conversation I overhear between Hilma and Amaliel. It’s a Tuesday night, the scene is a local tavern on the lower Astral Plane on the seamier side of town near the waystation where Amaliel works. The tavern is a smell first; stale and dank. The smell makes the customers want to drink in order to forget their depressive non-lives.

Hilma: Why choose me?

Amaliel: Because you see what’s hidden.

Hilma: I have no institutional support. No allies.

He doesn’t see why that should matter but Hilma knows why that matters. Even I know why that matters.

Amaliel: You will be a pioneer.

Hilma is pleased with the answer.

In the years that follow, what Hilma will remember most about this conversation is the way he looked at her just before the blast. The ease between them felt so rich and spacious. She can close her eyes and will herself back to that moment and it’s as if he is right next to her. But then the blast comes and they are torn apart.


There’s a war on the Astral Plane between the forces of Imagination and Logic. An army of Shells terrorize the citizens. They are human like creatures; pale and waxen, naked and with no discernible sex organs. Some say they are monsters, golems, fueled by man’s evil thoughts, wants and desires. Down on Earth, the buildup to World War I is really a result of the War already raging on the Plane. The forces of Imagination and Logic need more bodies for their fight. A war on Earth would provide an abundance of young, dead, powerful soldiers ripe for radicalization.

People on the plane are dead. Maybe I didn’t make that clear earlier. Shells fight not to kill but in order to steal souls. They use mantric missiles; mantras like om that literally transform into weaponized aural bombs. The dead can get injured, they can even be blown up but a day later they regenerate. Hilma is not so lucky. She can travel to the plane but she can’t regenerate. Amaliel warns her of the danger but Hilma does what she wants.


There are explosions almost every night on the Plane. Amaliel and Hilma escape the violence and hide in the intricate web of catacombs deep below the city. The walls are covered in symbols and glyphs painted by Ancients long since gone. Amaliel explains that the Ancients moved easily between the Astral and the Earthly. They created pathways that allowed for the transmission of universal Truths but those passageways are closed. Hilma’s job will be restore them to Earth.

Up to now the catacombs had been a safe bet. Now they are infested with Shells. Amaliel reaches down and takes Hilma’s hand. Hilma turns and sees a hundred shells standing motionless in a darkened cavern. They seem to be sleeping, inert. Hilma’s sleeping self has drifted over to the other side of the cavern. Too far for her to get back in. Her heart pounds. Amaliel hears it. He looks at her. Control your fear. They creep along the perimeter of the room, moving toward her sleeping self. If they get close enough he can put her back inside and send her home.

They are nearly there when one of the shells wakes. They screech a command and the others wake.

Amaliel grabs Hilma, as one of the shells releases a mantric missile. Amaliel dives with Hilma to avoid the explosion as her sleeping self rides the wave of the current and disappears into another tunnel. Hilma and Amaliel run through narrow passageways and tunnels searching it. Amaliel firing his own aural bombs at the Shells. The wave pushes the Shells back but inadvertently wakes others resting in the vast underground complex. Amaliel spots Hilma’s body drifting out of a tunnel straight ahead. They need to go faster to catch it.

Amaliel holds onto Hilma, and transforms his thoughts into motion. The two of them ride this intense tidal wave of energy, shooting through the tunnel past the Shells, who can’t get into the current. They land on the ground. Hilma sputters out a mouthful of dirt. She has to go back now but her sleeping body isn’t there. The Shells emerge from the tunnel opening. Hilma looks frantic but Amaliel sees her body. They kiss. Their first. And then he sends her backward into her sleeping self.

The Shells hurl a bomb, Amaliel counters with a mantric shield that holds long enough for Hilma to return home. Then he counters with his own bomb, an unearthly, ungodly sound that comes from deep within the universe. It disintegrates all the Shells and everything else in the vicinity. Trees. Park benches. The old wall. All obliterated.



The scene here is a small studio, in the attic of an apartment building. Hilma’s friend Anna has rented it for her. In doing so she acknowledges not the commission so much as her friend’s emerging genius. Hilma has an ally. She craves another. She schedules a meeting with Rudolf Steiner at the Theosophy Society to show him her work. She tells him about her mystery service; how she is supposed to restore a lost language to the world in order to return the concept of oneness to the world.

Steiner is dismissive. He says a woman would never be allowed direct contact with the spirits. He says, dangerous spirits are often able to penetrate weaker minds. He says she must destroy the work.


I try to stay out of the story but it’s impossible. I am part of the Astral Memory playing out against the wall. I am the writer searching for the truth to the story of a woman who lived a life unseen. I look down from my spot on the wall and see her running down the street into Amaliel’s building. I watch her climb the spiral staircase to his apartment. The door is already open. He’s expecting her. She is so frustrated. So exhausted and so disappointed that all he can do is offer her kindness.

Hilma: Steiner says to destroy the work.

Amaliel: Do not destroy the work.

Amaliel misjudged the toll the commission would have on her. The world is trying to destroy Hilma and he cannot let her be destroyed. He explains the one thing he hasn’t.

Amaliel: The work is for the future.

She looks stunned. He wonders if maybe he should have said this sooner.

Hilma: What about the Temple?

Amaliel: It’s enough for it to exist in your mind.

He feels her pain as the words sink in and she realizes the ramifications.

Hilma: No one will see the work.

Amaliel: They will see later.

The words don’t appear to comfort her.

Amaliel: You are free to create.

Hilma: I’m alone.

Amaliel: You are a pioneer.

Hilma: Alone.

In the years that followed, after he left to fight the Great War on the Upper Plane Amaliel often worried about the harm he had caused her. He knew the work would be unseen from the beginning but he assumed there would be other things to keep her satisfied. A man to love her. Children. Camaraderie among her peers. But what he sees now is that in accepting the commission he had forsaken her. She embraced her own agency and was punished for it. Amaliel did not anticipate this. What he does not know is that had she known the consequences in advance she still would have accepted.


I will stop here though there is more to say. Hidden inside this particular ending is a beginning. An opportunity to see where female heroism lies. I will tell this story while no one watches. In my process there will be no support, no credit, no accolades. There will only be the intersection between two women. Both of whom have been denied agency but proceed with the plan anyway. The heroism not in the completion of the objective but in the dedication to the service. That the world is blind to it is not our concern.


Hilma completed the commission in 1915. That I suppose is one ending. That she did it with no support, no allies, little money and in secret brings me back to the middle. And so the story ends where it began. Everything else in between still needs to be discerned. That job is left to me. Against all indifference I will piece together the debris from the unassembled facts and tell her story. Because her story matters.


In my waking dreams, I see Hilma on the periphery of my mind, glistening at me from the far edges of my consciousness. She holds up a small sign.

It reads: You have mystery service ahead.

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Hilma af Klint.

193 abstract paintings divided into groups and subgroups making reference to contemporary developments in the world of science and religion.

Codes and Symbols: Logarithmic spirals and tendrils represent evolution. The letter U stands for spiritual world. W= Matter. Overlapping discs signify unity (creation and invisibility of genetics). Yellow roses= masculinity. Blue+lilies=femininity. Green=blue+yellow+ male or female/good or evil.

Themes: Duality, the pursuit of an original oneness. Reconciliation of divisions. Reduction and purification. No traditional narratives.

“they portray the astral plane in color and form”     “Systemic visualizations of complex philosophical ideas and spiritual notions”    “Imagery intended to lead the viewer to other levels of awareness.”  “… to glimpse another universe”

She had no lobby, no market, no internal support, no collections, no museums directories — she hid her work. As if it was one big thought experiment and yet in her journals she openly describes herself as a pioneer.


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C.W. Leadbetter: Excerpts from Astral Plane: Scenery, Inhabitants and Phenomena


The first point which it is necessary to make clear in describing this astral plane is its absolute reality. It goes by other names such as The Hades or Purgatory but Mediæval alchemists called it the astral plane and the Occult followed.

The objects and inhabitants of the astral plane are real in exactly the same way as our own bodies, our furniture, our houses or monuments are real – as real as Charing Cross.

Though for the most part entirely unconscious of it, man passes the whole of his life in the midst of a vast and populous unseen world. During sleep or in trance, when the insistent physical senses are for the time in abeyance, this other world is to some extent open to him, and he will sometimes bring back from those conditions more or less vague memories of what he has seen and heard there. When, at the change which men call death, he lays aside his physical body altogether, it is into this unseen world that he passes, and in it he lives through the long centuries that intervene between his incarnations into this existence that we know.

It is hard for us to realize how partial our sight is – to understand that we are all the time living in a vast world of which we see only a tiny part. Yet science tells us with no uncertain voice that this is so, for it describes to us whole worlds of minute life of whose existence we are entirely ignorant as far as our senses are concerned.

Clearly all about us there are potent forces which yet elude our poor and partial senses; so obviously we must beware of falling into the fatally common error of supposing that what we see is all there is to see.

We are, as it were, shut up in a tower, and our senses are tiny windows opening out in certain directions. In many other directions we are entirely shut in, but clairvoyance or astral sight opens for us one or two additional windows, and so enlarges our prospect, and spreads before us a new and wider world, which is yet part of the old world, though before we did not know it.

In our solar system there exist perfectly definite planes, each with its own matter of different degrees of density. Some of these planes can be visited and observed by persons who have qualified themselves for the work, exactly as a foreign country might be visited and observed; and, by comparing the observations of those who are constantly working on these planes, evidence can be obtained of their existence and nature at least as satisfactory as that which most of us have for the existence of Greenland or Spitzbergen

The names of the planes are the Physical, the Astral, the Mental or Devachanic, the Buddhic, and the Nirvanic. Higher than this last are two others, but they are so far above our present power of conception that for the moment they may be left out of consideration.

But however it may occur, the first actual realization that we are all the while in the midst of a great world full of active life, of which most of us are nevertheless entirely unconscious, cannot but be a memorable epoch in a man’s existence.

First of all, then, it must be understood that the astral plane has seven subdivisions, each of which has its corresponding degree of materiality and its corresponding condition of matter.

It must be understood that the matter of each plane or sub-plane interpenetrates that of the plane or sub-plane below it, so that here at the surface of the earth all exist together in the same space, although it is true that the higher varieties of matter extend further away from the physical earth than the lower.

So when we speak of a man as rising from one plane or sub-plane to another, we do not think of him as necessarily moving in space at all, but rather as transferring his consciousness from one level to another – gradually becoming unresponsive to the vibrations of one order of matter, and beginning instead to answer to those of a higher and more refined order; so that one world with its scenery and inhabitants would seem to fade slowly away from his view, while another world of a more elevated character dawns upon him in its stead.

Visually it is easiest to make the comparison of the planes and sub-planes to concentric shells.

Putting aside for the moment the seventh, we may say that divisions 4, 5 and 6 of the astral plane have for their background the physical world in which we live, and all its familiar accessories. Life on the sixth division is not unlike our ordinary life on this earth, minus the physical body and its necessities; while as it ascends through the fifth and fourth divisions it becomes less and less material, and is more and more withdrawn from our lower world and its interests .

The scenery of these lower divisions, then, is that of the earth as we know it; but in reality it is also much more: for when we look at it from this different standpoint, with the assistance of the astral senses, even purely physical objects present quite a different appearance. As has already been mentioned, one whose eyes are fully opened sees them, not as usual from one point of view, but from all sides at once – an idea in itself sufficiently confusing.

One other point deserves mention in connection with the appearance of physical matter when looked at from the astral plane, and that is that the higher vision, when fully developed, possesses the power of magnifying at will the minutest physical particle to any desired size, as though by a microscope , though its magnifying power is enormously greater than that of any microscope ever made or ever likely to be made.

“What manner of place is this unto which I have come? It hath no water, it hath no air; it is deep, unfathomable; it is black as the blackest night, and men wander helplessly about therein; in it a man may not live in quietness of heart.” For the unfortunate human being on that level it is indeed true that “all the earth is full of darkness and cruel habitations”, but it is darkness which radiates from within himself and causes his existence to be passed in a perpetual night of evil and horror – a real hell, though, like all other hells, entirely of man’s own creation.

This Entities inhabiting these levels are usually deeply self-absorbed, and to a large extent create their own surroundings, though these are sufficiently objective to be perceptible to other entities and also to clairvoyant vision.

It is on these planes that “spirits” call into temporary existence their houses, schools, and cities, for these object are often real enough for the time, though to a clearer sight they may sometimes be pitiably unlike what their delighted creators suppose them to be.

Records of the Astral Light. These records are a sort of materialization of the Divine memory – a living photographic representation of all that has ever happened. They play as projections which live, permanently impressed upon a very much higher level, and are only reflected in a more or less spasmodic manner on the astral plane, so that one whose power of vision does not rise above this will be likely to obtain only occasional and disconnected pictures of the past instead of a coherent narrative. But nevertheless these reflected pictures of all kinds of past events are constantly being reproduced in the astral world, and form an important part of the surroundings of the investigator there.

KB Notes:

There are people there. Masters/Adepts/ i.e. Leaders and Pupils/i.e. Bureaucrats (who work for the Masters). There are also Ordinary People who float in their astral bodies during sleep and they don’t ever wake up to it. If you look carefully you can see them but they are the background of the world. They are not dead because you have to remember that all the planes co-exist and seeing them is a matter of consciousness and perception)

So you can wake to it and enter a world that looks like your own but you can continue further into the world and see that it takes on the shape of others’ ideas. So it looks like the world but a little different. Some people wake on the plane but they don’t really wake to the plane and they end up sitting and thinking and pondering whatever they were thinking about before they went to sleep.

There are evil spirits up there that recruit souls and the word “Dead” only means a spirit not attached to a physical body.

The ordinary Person after death makes up the biggest population on the Astral Plane. Some pass after a few hours or days others stay for centuries. If you lead a good life you pass quickly because it’s easy to shed your body. The higher you go the harder it is to have contact with people on earth.

But if you have led a more troubled life you must stay longer in the lowest subdivision until you disentangled as much as possible from himself from the matter of that sub-plane (i.e. your life on earth) and when that is done your consciousness can be focused on the next concentric shell (you can pass on to the next subplane). Movement from one plane to another: The planes interpenetrate one another so the focus shifts from the outer shell to the next one within.

“Detention” on any level of any plane is in direct proportion to the amount of matter on his astral body and that figure is determined by the kind of life he led, desires he indulged, and the class of matter he attracted to himself by way in which he lived his life. 

CL: Many of the dead who linger on the lowest level of the astral plane are those whose desires are gross and brutal – drunkards, sensualists and such like. There they remain for a period proportioned to the strength of their desires, often suffering terribly from the fact that while these earthly lusts are still as strong as ever they can’t gratify them.

Why do they need mediums to communicate? The reason is that one state of matter can ordinarily act only upon the state next below it and. So, the person on the Astral Plane can’t make the necessary vibrations to move objects on the earthly plane – they need someone to do it for them.


INHABITANTS (Darker Forces/Lighter Forces)


For people who led a baser earthly life – eventually the spirit/ego (or the divine part of their soul) manages to separate from the body but the baser parts stay behind in the form of the body. This body may have its own thoughts (shades) or it may just be a body that searches for possessions (shells). They are otherwise essentially the same and always malevolent.


If the sudden death victim had a good life they will sleep. If not they cling to earthly desires and cling to life. As such they can be “radicalized” by Shades or overtaken by Shells who use them for their own purposes.

These four groups spend a great deal of time in butcher shops, public houses, whore houses – they create for themselves and foster a dark landscape.

Lighter Forces

MASTERS/ADEPTS/aka Leaders – These are the leaders working for the betterment and eventual good of all. They represent things like Truth and Beauty. They’re job is to help humanity evolve towards its highest ideal. Man is still in the lower stages of evolution as evidenced by the constant need for war both internally and externally.

PUPILS/aka BUREAUCRATS – They work for the leaders. KB Note: They function as a kind of Astral Cop, overseeing the plane.



These can be creatures but they can also be ideas. They are formed unconsciously by thoughts. They only last as long as the thought lasts. They live out their life proportionate to the intensity of the thought. So for instance FEAR can create elementals (packs of dogs, attacking creatures etc).


Powerful force that can be ‘ridden safely’ but unskillful attempts are dangerous.


Sounds that create vibrations. You can use them to ride a current. But you can also use them to cause Disintegration.


When the etheric bodies are blown apart and caused to disintegrate. Although, after a time, the Astral Plane regains its etheric body. So a mantra can cause a building and all it’s inhabitants to explode and disintegrate but after a time everything would come back. (KB Note: This is the danger of being on the Astral Plane before you have died).


A living photographic representation of all that has ever happened. These reflected pictures of all kinds of past events are constantly being projected in the astral world, and form an important part of the surroundings of the investigator there.
These images are impressed upon a very much higher level, and are only reflected in a more or less spasmodic manner on the astral plane, so that one whose power of vision does not rise above this will be likely to obtain only occasional and disconnected pictures of the past instead of a coherent narrative. ( KB Note: I picture Doug Atkins’ Sleepwalkers)



Spirits from the plane can appear on Earth as a ‘thought form’, meaning they project themselves to earth in the form of a thought. But they cannot move anything or touch anything. They lack the ability to move matter or be felt. Most people would refer to this as a ‘ghost’.

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The Astral Plane

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The Astral World is not a place but a state. A condition of existence (Steiner). It surrounds us and we are immersed in it while we live on Earth.

At death: The Etheric Body (which holds the imprint of all memories of the life lived), the Astral Body (which contains all the desires generated by life) and the Ego all leave the body: All that’s left is the corpse which stays in the physical world. The Etheric and Astral bodies unite on the lower Astral Plane.

Over time the Etheric body dissolves – and the Astral Body moves to the higher Astral Planes alone. But: Everything on the Astral plane comes back to the physical plane. All the negativity ends up coming back to earth.

Lower Astral worlds resemble life on earth. There are buildings, apartments, weather. In the higher worlds things become more unvarying and communication becomes non-verbal. Structures can be malleable.

There are wars in the astral plane. They use Mantric Power vs Bombs. Mantric Power is a charged religious symbol made manifest. Like a wave that can be ridden. Mantras can be used as vehicles. They can also be used for destruction.  In the lower realms of the Astral Plane, pockets of darkness/resistance have been created by humanity’s spiritual ignorance and misunderstand (failure of the patriarchy). Negativity boils over and spills back to Earth. Wars on the plane are experienced by people on Earth as nightmares. The world is so chaotic because there is continual war on the astral plane.

On the Astral Plane every feeling, every idea is given a visible form – a living force. An astral lie can cause death. Thoughts can create reality.

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Logic and Imagination (Occult)

Screen Shot 2017-11-30 at 10.32.49 AMPer Occult thinking: Materialism emboldens the force of Ahriman (who rules the force of logic). When given too much power Ahriman seeks to stamp out individuality.

In turn, as people grow more and more disillusioned (because of economic hardship or lack of options, for e.g.) this emboldens the forces of Lucifer (who rules imagination). Imagination is good but not when it descends into fantasy and decadence.

Materialism perverts logic and dulls feelings.

Rudolf Steiner believed in the “Christ Impulse/Christ Consciousness” – A force meant to keep the pendulum between Logic and Imagination in check.  (See also Mystery of Golgatha). In his opinion World War 1 was materialism confronting its Karma.


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