Sister Pulcheria and the Jesuits

It is reported that Sister Pulcheria, in an attempt to integrate her spiritual and political desires, sought counsel with Father Ramón Aleazar, iconic mystic of the Western Watersheds. Sister Pulcheria, in her unbound collection of biographical writings, From the Water Underground, expressed her interest in axial-spinning, a radical mystical tradition possibly dating to the mid-sixteenth century, allegedly aligning ground to sky through the central axis of the human body.

The Carbon Child Describes the Color Red

Some things are light, while others are dark. If we put a hand in a bucket of water, that water might feel cold to the touch. If we then put our hand in a bucket of iced water, and submerge again that hand in the original bucket, our first water now feels warm to the touch. Terms for color invite mistake and disappointment. A single hue of green cloth might be labelled pea green, sea green, olive green, grass green, sage green, evergreen, verdigris, lime green, chromium green, viridian. We refer to toys and clothes of baby blue, peacock blue, Nile blue, lemon yellow, straw yellow, rose pink, heliotrope, magenta, plum. We have no syntax for color, only vague nouns and imprecise adjectives. If music resembled a lark, canary, crow, cat, dog, wolf, whale, nightingale, would we refer to corresponding musical tones as larky, canary-like, wolf-pitched, nightingalish, or speak of a crow-like chorus with roughed grouse percussive tympani?

The carbon child sees a hat of faded red, and desires this hat. He is never content to merely call it red, for he knows that it has no resemblance to his brightly painted red truck, or the red of his mother’s adornments, or the red of the running fox. He understands that a lot of red is different from a little bit of red. He gropes for a means to define this particular red, and finding none, retreats in sullen silence, unable to attain his object of attraction. He is cramped by the poverty of language to describe. His sister is no better equipped, even though she speaks of tone, timbre, shade, tincture, shadow, trace and vestige. When she acclaims a color “painted in a minor key” she further confuses her brother and mother, reducing our three-dimensional model of perception to vague metonym. A sphere can be used to unite our dimensions, but she sees only a flat plane, encircled by the vague boundary of imprecise cognition.

–from A Color Notation, A.H. Munsell, 1910

Suggested Reading

This week, we offer the following to further enhance our understanding of the Characteristics of the Acts:

• Annals of the Fernleigh Grange:

    Harmolodic tide tables, cloud purgations, synodic rains, mycelial drift, notations on remembered winds, urine and bread baths, grain printing, exchanges of smoke and seed, inference storms and osteomancy castings are among the copious ephemerides found in volumes one through three of Fernleigh’s exhaustive chronicles.
Agency of Light upon Nitrate of Silver

The darkening act of nitrate of silver under the rays of the sun had been long known, but no attempt was made to apply this fact until the Apparitions and Visions Acts of 1802.


Also known as “Clara’s Trick”, the most accurate and beautiful representations are obtained through this agency of light and shadow. Miracles recorded in the Muratorian Plates (fig 37a) are accepted as canonical, though The Sources of the Acts cite the untrustworthiness of May-Brooke, the Historian of Penumbras, rendering dubitable all references to luminous flux incidents.

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