A Reaction to Paul Laviolette's "Beyond the Big Bang"

I have been reading Paul Laviolette’s Beyond the Big Bang, and it is fascinating to see such a learned man in the field of system processes physics compare and contrast as well as explore Egyptian Creation Myths in relation to the theory of system process. His language constantly reminds me of psychological concepts.

Laviolette uses the following two terms “transmutative impulsion,” which I see as equivalent to the First Cause, Primal Mover, God, Change, and, “transmutative union” or “alchemical union” to describe important mytho-psycho-systemological-process events. The alchemical union, by no means an invented term and very old so as not to require quotes, is also known as the heirosgamos, while the “transmutative union” is therefore possibly the final and third comiunctio, which makes it the tri-transmutative coniunctionis: transmutative sounds like transformative, which is in part, Change. Considering these terms in the helixically fractal model, one can see that “transmutative impulsion” is the energy that makes the rest happen, and is therefore equivalent to Change, while “transmutative union” is the heirosgamos of the two archetypal energies in synergistic to synchronistic interrelationship.

Laviolette explains the Isis, Osiris, Horus myth of spontaneous conception, which sounds a lot like the mystery surrounding the famed immaculate conception, in further interesting psychologically charged jargon of the Physics field. He writes: “Thus the seed from which Horus sprang does not come from his parents but emerges spontaneously in their midst as a fluctuation arising from the ether itself” (112-13). The ether sounds like the Third—a field of unequal to co-mutual to directive energy created by the interaction and interrelationship of two entities or objects or fields possessing electrical energy or magnetism—such an idea works on many levels simultaneously. He continues: “Isis and Osiris contribute to his generation by forming a matrix of circular causality that nurtures Horus into being” (113). Horus may also sing harmonies of synchronicity. Laviolette states: “Isis is the prime actor here in that she consummates her union with Osiris by marginally reviving him from his death state” (113). To consummate a union resulting in spontaneous conception would require great energy of intention from the female as well as male participants.

Such a procreative act created between two parties, resulting in a manifestation of poesis, is akin to fire stealing Prometheus, meditating consciously Gautama, redemptive hanging Christ, or the runes being acquired from Yggdrasil by hanging Odin. In that each time a new procreative act comes into being, it is preceded by a sacrifice of some sort that is inherent in the realm of Change. What I am saying is that perhaps Osiris was in such deep meditation that even the loss of sexual organs or body parts was not enough to curtail his procreative powers, his ability to tap into the archetypal field of poesis kept his soul energy alive. Life seeks to continue more than it does to end, even as every change is an end, a death or dying, it is also a renewal, a rebirth, or a birthing. Finally, Laviolette says: “This emphasizes the feminine, formal aspect of process as being the primary seat of generation” 113). Horus also provides alternatives, such as reversals of energy and generations of gender—as a disembodied embodiment. Horus represents an evolution of consciousness in the metaphorical field of spontaneity. Horus sings as the Self in journey, accompanied by the trusty shadow his brother/uncle. The shadowy uncle, Scar, presents very well in the popular children’s movie “Lion King,” foiling Simba’s attempts to grow up too fast, allowing him to blunder.

Laviolette’s “ether transmutation network” (113), sounds like Jung’s archetypal fields, whereas the “emerging etheric fluctuation” (113), smells like engaging in imagination, logical abstract thought, aesthesis or poesis. The “statistical nature of the ether fluctuation process” (113), surely depends on the energies of souls as they engage the numinous while immersed in aesthesis or poesis.

Laviolette writes:

Horus’s name in its complete form is given as Horpi-chrud, which means “emergent child,” Hor deriving from hri, signifying ‘up, above, on top,’ and chrud signifying ‘child.’ In harmony with this imagery, Horus would represent the positive electric energy pulse (high y/low x fluctuation) that spontaneously arises in the ether and is destined to grow into a particle of matter (113).

The string of words “up, above, on top” compares positively in some ways with ‘as above, so below,’ for if one goes high enough they are beneath themselves, especially when one considers spatialtime. With “chrud” as child embracing, Horus smiles in the reflected pool of Hanuman—and are not children pond reflections of echoes gone, as tricksy as a big Monkey’s tail?—Horus is a trickster! Interestingly, so is his brother/uncle, yet I suspect that each of them exhibits a wide spectrum of tricksteriness that complements to conflicts with one another (for we must not neglect paradox).

Laviolette, Paul A. Beyond the Big Bang: Ancient Myth and the Science of Continuous
Creation. Rochester, Vermont: Park Street P, 1995.