EN | 🌴

Judith Kisner, FUTUREPROOF | Ein Dialog über Zukunft und Spekulation, Hamburg, 2022

My dear Sister,

Regarding the state of our expedition, I am very pleased to inform you that our recent findings points towards a confirmation of the hypothesis that the called-back-then ‘turn of the Third Millennium’ was certainly a key moment, very rich in the production of palm renditions, as suggested by Our Sister Hermeneia’s visionary Meditations on The Palm Tree. I am feeling quite emotional while I write you this, as I have to share some important news with you, but first I think it is necessary to remind you of some basic points in our research, as you may want to share this letter with the novices—and I am sure reading this may prove useful to them.

The production of palm tree iconography during this era was characterized by a series of cycles of proliferation and contraction (‘the boom-and-bust’, as economists say). The presence of palms in image-based media would suddenly disappear for a decade or so just to then reappear, with striking force, during a new cycle. By interpreting some textual sources of the time, we can suspect that the sudden and ubiquitous presence of palms during the upward phase of the cycle was dissuasive for some image-makers who regarded themselves as ‘serious.’ They looked upon the representation of the palm with suspicion; to render a palm, many of them reasoned, was either a too easy path to success or attaching yourself to a fading fashion. Such was the polemical energy of the icon at the time!

One can only wonder if, with so many image-makers making countless renditions, the Palma Secreta was ever revealed to at least some of them. Palms were such a scarce species back then, and it is reasonable to think that True Communication at the time was difficult because of this. But we cannot discard that true and key progress was made during that time, and I will give you an example later of what I have found to this point, since I am truly amazed—how such early growth exposed itself! You will see.

One of the contemporary textual sources that guided our research towards the place we are excavating right now suggests that, “inhabiting the invisible realms beyond physical perception, beings could emerge by devotion and enthusiasm.” So you can see that even back then people understood how it works; just a quick look on any of those search engines of the time reveals that the term ‘paradisiacal destination’ had a strong semiotic correlation with high degrees of palm presence in any given landscape. It seems that during these times the Palma was fed mostly by these cycles of enthusiasm, between fashion and passé, just like our contemporary techniques for high-intensity respiration: emerge, hide, lie down and rest, and then reemerge, growing and overcoming itself after each cycle—‘the long Vacation after the complete Rotation’, as it is written, Sister.

In the next letters you will know more about the place we have found. But for now, I need to share with you a considerable number of images produced on textile surfaces — I am attaching some copies so you can look at them yourself. All of them are rectangular, but some are larger, about the height of a young person, others about the length of a forearm. Many in this last group have a series of perforations along the four edges, as in ancient stamps and stickers, which suggests some sort of communicative purpose.

We can also establish with utmost certainty that the body of work found here was all done by a single person. While it is reasonable to think that the maker in question was a Woman — as was the term used back then — it is difficult to establish more information about her, except for the words written on the back of one of the textiles that roughly translate as ‘Magie Sack, 2022.’ This number, most likely a date, is significant since it will allow a more precise periodization of how things worked during the ‘turn of the Third Millennium.’

Regardless of the historical interest, this last ‘Magie Sack’ seems to me one of the most special images found in the group. It is the weirdest example of a textile image I have ever seen in my long experience as Archaeosophist.

In connection with what I previously mentioned on the different channels for Palmaric Communication, multitudes of them were opened (or at least tried to be) at the time by a high number of image makers. I am sure that this particular image producer had established a very special class of advanced communication with the Palma Secreta. As you put the images in succession, the mutations are clear, and point to the correct order: palm, palm (the first always two times), then noses and the succession of the Most Sacred Notes, then palm again, but as regrowth into itself, and finally the mysterious figure, the weird one—just look at it! Perhaps an early vision of the Palma Secreta? Too soon to say, but I am truly excited about this, as it could be the oldest record of a Palma Secreta revealing itself in one of its early stages.

So the Palm be Always Watered, Sister,

Sister Gravitia