APPENDIX B: Course Curricula in the Occult Sciences Offered to Antioch College

1. With any set of three primary colors the artist theoretically can produce any color he desires. Any form of line drawing in two dimensions can theoretically be produced by a proper combination of a set of radial movements (expansions and contractions) relative to a fixed point in the plane and a set of circular movements relative to the same point (i.e., the mechanics of polar coordinates in a plane). The idea here is that there is a minimum set of simple factors which serve as a basis for producing things with complex structure.
2. In the same sense, the art/science of alchemy has attempted to reduce the operations of the human mind/soul to a set of complete but nonredundant basic elements. Due to the purity of these elements, an ecstasy of the creative imagination can easily result from an interplay between them and the conscious ego.
3. Von Franz in "Number and Time" has produced a vivid account of the reality of the concepts of 2, 3, and 4.
4. Once the erroneous artifacts of modern astrology and the Tarot cards have been eliminated so that these systems are represented as the alchemists intended them, there manifests a set of symbology that very directly leads to a charged stimulation of the imagination. As Jung has so poignantly discussed, the alchemists have always spoken more of the inner psychological world than the outer physical world. Seven is a living entity which must not be corrupted by trying to add to it. There are seven metals, seven personal planets, seven angels surrounding Milton's God of "Paradise Lost". There are seven levels of the catastrophe theory of modern physics. Seven is the supreme manifestation of masculinity as dynamics and time, just as 12 is the supreme manifestation of femininity as space. Seven is not to be corrupted with ten unless there is a concomitant specification that this is ten (10) as 7 + 3. Furthermore, the 10 are to be distinctly specified by name as being of a different order than the 3 and the 7. The supreme representation of 10 as l (i.e., as an integrated whole) manifests as the Qabalistic Tree of Life with the 22 Tarot Trumps being the paths connecting the 10 Sephiroth. The entire astrological system, except for the three archetypal planets Pluto, Neptune, and Uranus, is completely contained within the Tarot.

1. Introduction to alchemical symbolism with emphasis on the works of Blake, Jung, and Goethe. The alchemical process in Goethe's Faust. Jungian interpretation of alchemical symbology. The macabre structures in the art and poetry of Blake.
2. The forms of the Babylonian zodiac and the Writings of the Magi.
3. The Tarot and Astrology: T.S. Elliot's "The Wasteland", Aleister Crowley's and Lady Frieda Harris' Thoth Tarot Cards, and Japhra's renderings of the classical zodiacal signs.
4. "Psychology and Alchemy", Carl Jung - A look at the analytical psychological interpretation of alchemical symbolism in Jung's "Psychology and Alchemy".
5. "Number and Time", Von Franz - the structure of the integers 2, 3, and 4 and their relationship to the concept of time.
6. Evolution: From the dusty gas of infinite space to stars and planets. From mineral and vegetable to platyhelimenthes, the cock roach, Australopithecus, Cro-Magnon and dolphin. From Hubble, Hoyle and Einstein to Teilhard de Chardin and Robert Audrey.
7. The philosophy of knowledge as presented in Greek gnosticism.
8. Evolution of the form of the Rose Cross and the Tree of Life from the ANKH and cadeusus of the Egyptians to the Sephirothic representation of the Qabalah to the formula of the Rosy Cross of the Rosicrusians and the Philosopher's Stone of Paracelsus.

1. The highly analytical description of the space/time continuum as delineated by modern mathematical physics has added a new richness to the age old space/time continuum of the artist. When the physicist speaks of the influence of mass/energy on the geometry of space he is expressing a relationship which is part of the everyday vocabulary of the artist. The artist may speak of how the large black area in his painting tends to inject an apparent curvature into the straight lines passing nearby. Likewise, the physicist may comment on how the large concentration of mass/energy called Jupiter makes the basic distance metric more and more non-Euclidean as the planet is approached.
2. A powerful mechanism for fixing a concept in the mind is to play upon that concept from two or more widely varying modes of perception with a proper synchronization between the two modes. For example, a carefully delivered lecture on the integral calculus timed so as to begin and end with the playing of Ravel's "Bolero" will have a marked impact on even the most unobservant student. Similarly, the first few stanzas of Strauss' "Also Sprach Zarathustra" can be sequenced with a time lapsed film of the birth and death of a flower with breath-taking effect.
3. The creative process in science and art involves intuitive and analytical levels of space/time perception. Object art involves tangible three-dimensional space and defines the space in which the object exists. The perception of the object, then, requires a mental projection into that space. As the relationship between the inner subjective and outer objective begins to take on a definite structure, the term "language" becomes an appropriate metaphor for this relationship. Conceptual art, for example, as a form of language between objects exterior to the mind and the mental perceptions of those objects is a good hunting ground for investigating spatial/temporal concepts.
4. A rhythmic swing back and forth between a cold calculating scientific interpretation of space/time and an artistic feeling toned interpretation of space/time should help the student to become more complexly involved on all psychic levels with the space/time phenomenon.

1. Space/Time in Mythology (first week)
1. Von Franz, "Number and Time"
2. Alan Watts, "This Is It"
3. Aldous Huxley, "The Doors of Perception"
2. Space/Time in Science and Mathematics (second week)
1. Einstein and the effects of mass/energy on the geometry of space
2. The processes of differential and integral calculus
3. Tarot and Astrology
3. Conceptual Art (third week)
1. Phenomenology and Experientiality
4. Poetry, Music and Space/Time (fourth week)
1. Poe, "The Raven"
2. Ravel, "Bolero"
3. Strauss, "Also Sprach Zarathustra"
4. Cage, Sixteen Dances, Imaginary Landscape No. 4,4' 33", Variations II, I
5. The Spatial/Temporal Characteristics of Evolutionary Processes in Art and Biology (fifth week)
1. Robert Audrey, "The Territorial Imperative"
2. Teilhard de Chardin, "The Phenomenon of Man"
3. Vito Acconci, Lucas Samaras, Jackson Pollack