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Foreword

Why is it that—despite the successive art movements of modernism, postmodernism, and post-postmodernism—the image of classical Aphrodite perfection compels women to obtain by spending untold fortunes and the risk of drastic disfigurement and chronic ill health, not to mention the permanent obstruction to the pineal gland through chemical injections. This tragic epidemic has worsened since the art world became consciousness of the “Male Gaze.”

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The kernel of an. answer to this persistent problem of beauty was revealed in a discussion in a Malibu Church at the height of the Women’s Spirituality Movement where I posed a question to the speaker, Jean Shinoda Bolen. The author’s mission with Goddesses in Every Woman was a gift to a future kulturindustrie deconstructionist; the Greeks split the all-powerful Goddess into seven different female archetypes because the one feminine deity was too powerful. [1]

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Yet, the author couldn’t answer my inquiry, as fellow member of the audience told me as we filed out of the church pews. This budding priestess mirrored your image—long locks of sun-bleached controlled messiness, flowing “goddess” frock and combat boots. We were fellow seekers of the divine face of the feminine in the New Age quest for the once and future Aquarian icon…why dwell in the patriarchal past?

Forty years after the New Age Movement launched inner explorations to retrieve the lost face of the feminine in western culture, the epidemic of surgical body and chemical body enhancement establishing a mono-image among Hollywood starlets reveals just how effective was the Greek invention of the kulturindustrie.

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The manufacture of Aphrodite reflected Homer’s birth story—Cronos throwing the severed genitals of his father Oranos into the sea. These are the two titans ruling time: Cronos (Saturn) stands for linear or chronological time, while Oranos (Uranus) is the Sky God representing cyclical time.

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It seems that the Greek engineers of Aphrodite intended to birth a western beauty standard out of the gruesome mess of severed testicles to launch a missile into a distant future in which the opposing forces fathering Aphrodite battle are the two clashing theories of twentieth century physics. These two titans, Saturn and Uranus, are reflected in the dual rulership of the dawning Age of Aquarius.

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The Aphrodite Cover-Up that persists as the driving force of the current beauty epidemic underlying the clash of conservative populism and progressive globalism.​ My toxic-free pineal gland led me into integrating the uncertainty of quantum physics with the pre-determinism of astrology to invent a theory of the Third.

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The process involved chronicling an interactive gender-equilibrium philosophy while inventing a new methodology of deconstruction. The Science of Magic was developed in the Saas-Fee Media Lab (2012-2016) utilizing astrology and numerology as apparatus of hermeneutics. [2]

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The formalization of this holistic approach to knowledge is identified through the graphics in this book. “The Magic of 3” deconstructs Cypriot legendary figures such as Pygmalion, inspiration for George Bernard Shaw’s 1912 play and subsequently the 1964 musical comedy My Fair Lady. A 1981 Pygmalian adaptation Yorkshire Television starred Twiggy, the waif model catalyzing the London sixties Youthquake with her androgynous look barely-there mini-skirts.

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Engaged in a global tracking of the emergent icon as an art critic and quantum philosopher led me to the global crossroads. The division of Cyprus since the 1974 war forestalled an essential collaboration between the two cultures to uncover the truth at the root of the conflict.

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In a divided topography, the Buffer Zone is the place of unity. In 2021, the bilingual Paris art journal Switch/On Paper published my journalism from Cyprus informed by a mystical experience in this in-between realm inspiring the invention of a new theory of the Third sourced in the ever-present icon of the hieros gamos.

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The “Male Gaze” has persisted in the twenty-first century to the point where a new dialectic was created regarding the definition of “woman” in the face of a transgender movement redefining the conventional Cronos binary thinking and launching us into a paradigm shift to embrace Oranos in the Uranian Aquarian ideal of an authentic gender equality.

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Engineering a new Love Goddess as an object solved the Greek problem of beauty as a subject. This problem remained unresolved in the art world where beauty became a subject for dismissal. Clearly the buried discussion regarding beauty is the last place a scholar would expect to look for an understanding of the Cyprus Problem. Yet, the solution has been hiding in plain sight all along.

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“Seek the Gesamtkunstwerk in the topography” was Russian critic Boris Groys directive from inside the Media Lab. This wisdom points to the shadow falling over Aphrodite’s Island; penetrating this darkness reveals the divided topography as the reason why this story has not been told before.

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The Aphrodite Cover-Up is the quantum outcome of a trek across the topography of Cyprus collecting artifacts and stories embedded in the topography as unchanging myth. My experience has been that disclosing these truths reveals our authentic human identity as galactic beings. All that is needed for a quantum leap into the paradigm shift is the proactive participation of the reader.

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This personal journey of universal disclosure is intentionally written in a style to invite reader participation. Subject and object come together interactively to create a bold new aesthetic for the Age of Aquarius redefining “woman” from the 360-degree holistic perspective of the hieros gamos.

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