ADDITIONS TO THE TEXT
One of the things interests me about patches from black projects has to do with artistic traditions that try to represent things that cannot, or must not, be represented. Here's a short text about that question that didn't make it into the book's final edit.
Symbology
The visual language of patches and symbols from black projects— its symbology—recalls other symbolic systems that have surprisingly long traditions. For millennia, artists and mystics have pondered the
question of how to represent that, which by definition, cannot or
must not be represented.
Religions have always adopted rich symbolic languages to
signify the different aspects of their respective forms of faith and
mythology. In religion, symbols have always played a iconographic
and ritualistic role. Different symbols might represent different
theological ideas. In Christianity, the symbol of the lamb represents
Jesus Christ, whose death is seen as being akin to a sacrificial
lamb. In Buddhism, the Lotus flower represents the growth and
blossoming of spiritual enlightenment. For adherents of these
religions, an understanding of symbols goes hand-in-hand with
an understanding of the faith’s theological tenets, and a deeper
understanding of its “mysteries.”
 
Before Christianity became the Roman Empire’s official
religion in the 4th Century, “mystery religions” organized around a
central canon of secret knowledge were widespread. Membership
in such religions was limited to people who had passed through
secret initiation rituals, and had begun to learn a body of hidden
knowledge. Because they were forbidden to speak to outsiders
about the religion’s secrets, initiates of these religions were called
mysteria, meaning “initiate” or “to keep silent.” The Greco-
Roman world was home to numerous mystery religions: Eleusinian
Mysteries, Orphism, the Cult of Isis, Orphism, Manichaeism, the
Cult of Dionysys, the Cult of Tammuz, and Mithraism. All were
surrounded by an intricate symbolic language that spoke to a
respective mystery.
Take Mithraism, whose symbolic language was organized
around the figure of Mithras slitting a bull’s throat —called a
tauroctony—and accompanied by various figures from the zodiac.
Today we have almost no information about Mithraic theology, or
its tenets. Its secrets seem to have died with the religion itself. But
we do have a wealth of visual culture surviving from the religion,
whose shrines, frescoes, and artifacts remain littered throughout
the former Roman Empire. As one scholar lamented, the legacy
of Mithraism is “like a book of pictures with the text missing.”

Mithraic tauroctony
Nonetheless, the symbolic language of Mithraism holds enormous
clues about the secret knowledge at the religion’s core.
According to religious studies scholar David Ulansay,
Mithraic symbolism represented an elaborate system of star charts,
whose arrangement seems to suggest that the Mithraists had
discovered a very powerful secret indeed. By projecting Mithraic
symbolism onto the night sky, then taking into account the changes
in the night sky over thousands of years, Ulansay showed that the
Mithraists had discovered the precession of the equinoxes.
By decoding Mithraisms symbols, Ulansay showed that the
tauroctony represents the god Mithras (based on the constellation Perseus) ending the astrological age of Taurus by slitting the bull’s
throat, thereby inaugurating the Age of Aries (which began around
1658 BC and lasted until the Sixth Century AD). In an ancient
world where people believed that destiny was written into the stars,
a God capable of shifting the stars’ axis held tremendous power,
and was indeed worthy of worship. Although it took Ulansay many
years to decode the Mithraic symbols, the key to understanding its
mysteries had been hidden in plain sight all along.
Mithraism was far from alone in its use of a symbolic
language that both revealed and protected its mysteries. Early
Christians had a similarly complicated and secret visual language
that meant something to the initiated, but remained obscure to
outsiders. Take the image of the fish. In Greek, the word ΙΧΘΥΣ
(Ichthys), was an acronym for Iesous Christos Theou Yios Soter,
meaning Jesus Christ, Son of God, Savior. Legend holds that in
the early days of the religion (when being a Christian was illegal)
if a devotee encountered someone they suspected of sharing the
faith, they would draw the top half of the fish. If the other person
completed the image, they both knew that they had a spiritual
kinship. Of course, the fish symbol also resonated with a number
of stories in the New Testament. The Christian religion used other
symbols to connote that various aspects of its “mysteries” (and
Christianity was very much influenced by the mystery religions
surrounding it) that have been handed down to us: the chalice
and host signifying the communion; the Agnus Dei (Lamb of
God) representing Jesus’ role as a sacrificial lamb; and the trefoil
representing the Trinity.

One can turn today to the rich visual language of
Freemasonry, or to Scientology (whose symbols are trademarked
and therefore cannot be reproduced here). One need look no
further than a dollar bill (particularly the back side) to see the use
of esoteric symbols in everyday life.

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