In olden days of yore, the back pages of comic books sold miracles, panaceas, and all the wondrous novelties of the world for pennies on the dollar. Mail your allowance off to a mysterious far away post office box and you too could have x-ray vision, rippling muscles of steel, and/or a sea monkey kingdom. Ah, nostalgia! Yet, all is not lost – modern technology has not completely robbed us of our sense of innocent wonder.
So it is that you have arrived at this humble and obscure webpage that promises you the Infinite Universe! Yes, you! You too can become a CAT PRIESTESS OF PUSSIOPOLIS!
Explore and Expand in Holofelinity (Universal Cat Consciousness).
Wear Sacred Cat Ears, Collars, Claws and other Sexy Fashions for Cat Priestesses.
Express the Divine Feminine surging forth from the Ancient Past into the Present.
Champion and Nurture Real Cats both Wild and Domestic Everywhere.
Venerate Cathenge the Cat Temple with Beautiful Rites and Dances.
Channel the Galactic Wisdom of Lyran Space Cats, our Alien Feline Creators.
Discover your 9 Cat Chakras and attain Mental Mastery over Time and Space.
Be the first Cat Priestess on Your Block!!!
SPECIAL LIMITED TIME OFFER!
Participate in the Cat Priestess Fashion Show at the Ribbon Cutting Ceremony for Cathenge at Patricia’s Green in Hayes Valley, San Francisco. Friday, Dec. 02, 2022 and instantly become a registered, official Cat Priestess of the Cat Priestesshood of Pussiopolis – that most venerable (yet excruciatingly hip) of sacerdotal institutions with a lineage beyond the Ice Age and over light years to other star systems in alien dimensions.
When you join the Cat Priestesshood you get:
Hand Lettered Certificate of Authenticity
Pussiopolis Membership Card
Cat Priestess Profile Page on cathenge.net
Sacred Cat Ears
Magical Holofelinity Power Collar of Pizzazzium
Cat Priestess Stickers
Coupons for Advanced Courses in the Mystic Arts of Holofelinity
Interested? Well, what are you waiting for?!
Send a letter of inquiry – feel free to ask any questions.
Aesthetics and Origins of the Ancient Cat Priestesshood of Pussiopolis
9 Brief Lessons on the History of the Cat Priestesshood and the Evolution of Love
All Ways for Pleasure!
Mind over Matter!
1. On ancient Lemewria the Cat Priestesses had their order. They were a highly select and evolved society of feline goddesses whose vocation was the guardianship of the orb of Holofelinity, The Universal Cat Consciousness.
2. Holofelinity Is the feline power of mind over matter. Even today on Earth, anyone who owns a cat can tell you that their cat rules their world. This is why the regal sign of Leo is especially connected with the Sun – The Lion is the star, the unifying force, which the world revolves around. All that happens under the sun is for the pleasure of the pussy.
3. Every cat and every Cat Priestess is beautiful! Every cat and every Cat Priestess is a star! Every star and every beauty is a form a pleasure, and all life’s experience expands to encompass pleasure.
4. To feel is feline, and all that is feline is a feeling. Every feeling is a falling star – so feel for what you wish. Loneliness is only longing for the feline stars. Wish upon the stars, my kitten, and the Milky Way shall be the milk within your dish!
5. The Orb of Holofelinity was composed of a rare element whose vibratory signature is beyond our periodic table of the elements, a special element called “pizzazzium”. It could be thought of in terrestrial terms as “ultra-cheesiness”. It was a kind of “Ambrosia” or “Soma” – a “divine nectar” of the immortal cat people who dwelt upon ancient Lemewria. The element of pizzazzium empowered and intoxicated the feline mind and enabled the transformative experiences of Holofelinity.
6. The civilization of the feline developed as a pure expression of the mind. Labor and toil were unknown in Lemewria because all things emerged and were manifested by the imagination of the dreaming, purring feline. Have you ever wondered what your cat is really doing when she is sleeping? Of course Kitty is not merely sleeping – she is creating worlds, conquering worlds, saving worlds and doing all heroic deeds and achievements of genius.
7. The Cat Priestess purrs the world into existence. Each purring breath, inhalation and exhalation, is the pulse of ins-PURR-ation. Inspiration is the goal itself, nothing is higher and more valued among Lyran Space Cats than the bejewelled forms of precious thought crystallizing with effortless grace into the satisfaction of physical existence.
8. The saga of the Cat Priestesshood of Pussiopolis is the drama of the evolution of love. Love is pleasure, yet pleasure is never perfect – love is a state of longing for perfection. As the machinations of desire unfold the story of existence, we can see through the ages and aeons of Holofelinity, the ideal of love become yet more sublime, more profound, more beautiful and . . . of course; more loving!
9. The Milky Way was created when a little kitten spilled a saucer of milk the Mother of the Universe had set out just for her, and it only happened but a moment ago, so no one has come along to clean up that beautiful mess splashed across the night sky.
You and your cat’s spiritual ancestry span vast ages and many light years across the galaxy to embrace the celestial heritage of the lost civilization of the Lyran Cat People. The Lyrans, creators of humankind, endowed us with the 9 Chakra system of the feline soul – the very same system evolved on the Cat Planet of Lemewria. The deep affinity you feel with your pet cat is the one to one congruence of the 9 Chakra System shared by Homo Sapiens and Felis Catus alike.
Three Cat Goddesses: *Mneme*Melete*Aoide*
Universal Cat Consciousness (“Holofelinity”) fuses memory through meditation into the forms of song. Through this pattern all inspiration transits from the non-physical source into the sensual fulfillment of material being. Inspiration is transcendent pleasure, thus the ancient Cat Goddesses of Planet Lemewria, the Feline Trinity worshipped at Pussiopolis, were Goddesses of Ultimate Pleasure.
From the 3 primordial cat goddesses derive the 6 Catoliths of Cathenge. For each divinity there is also its diametric opposite. In the Nietzchean sense, these are Dionysian and Apollonian.
Art reception and “ribbon cutting ceremony” for “Cathenge” interactive public art installation. a 3D printed interactive “Space Cat Shrine” newly installed at Patricia’s Green in Hayes Valley. This is an evening to celebrate the completion of the immersive “Cathenge” project by David Normal. Come and experience Cathenge, a 3D printed light and sound sculpture, and meet the artist and his team. Reception to include added attractions and entertainments – all for the higher purrr-pose of welcoming the Ancient Space Cats into this dimension at Hayes Valley, San Francisco. This is an official dedication from the San Francisco Arts Commission, with tactical support from Burning Man Foundation, and vital sustenance from the Institute of Crazyology. This event will be held in conjunction with the “Hayes Valley Holiday Stroll” presented by the Hayes Valley Merchants Association and the Hayes Valley Neighborhood Association.
Music: ~MISSION DELIRIUM~ 9:00 PM ~Curious Planet Jazz Band~ 8:00 PM ~DR. HAL ROBINS, HOST & EMCEE~ Performances: ~Cat Priestess Fashion Show~ ~Dr. Paul Koudounaris, PhD, Feline Historian~ Attractions: ~Rocker of Abundance Installation and Performance by Dawn Jian~ ~KrOB Video~ Dedication: ~Ribbon Cutting Ceremony~ ~Jill Manton of SF Arts Commission~ ~Katie Hazard of Burning Man Project~ ~Hayes Valley Merchants and Neighborhood Associations~ ~Artist Statement by David Normal~
Cathenge at Patricia’s Green was created, conceived and directed by David Normal. David was involved in all aspects of its production from the sketching, modeling and writing of the initial ideas to the grant writing, administration and negotiation through to the consideration and application of the smallest bolts holding the installation itself together. Yet, it is not at all something he could have done by himself. It was a collaborative group effort involving a diverse array of people. It is easy to credit it completely to David Normal, and that is what will typically happen, however the artist has taken a moment to write an appreciation of the many different people who were involved in the production.
David Normal writes:
HOLOFELINITY INTERACTIVE PURRING:
Barney is my longest running production collaborator. We’ve been working together since 1997! There’s no one remotely like Barney, and his quirky one-of-a-kind talent for creating original analog electronic musical instruments from the hand-etched circuit board on up have taken front and center in the creation of Cathenge. Barney diligently and tirelessly manufactured not only the essential analog motion detecting boards that fundamentally drive the purring effect, but he engineered and fabricated the system to power the lasers and the eyes – working closely with me through all stages of production. Not to mention always being there as the truest friend you could ever ask for.
I like to say that Jacob just dropped out of heaven to help me with Cathenge. This card carrying genius/renaissance man, a kinetic sculptor recently transplanted to Bolinas from Chicago where he had been a tenured professor in “Art and Tech”, had just the right blend of skills to help me not only get out of a rut with the daunting 3D printing tasks, but, equally importantly; do the programming and electronic/electrical rigging – a very complex task – needed to realize the “Holofelinity Sound Sculpture” that is the purring effect integral to the Cathenge sculpture. Jacob comprehended the concept and found brilliant ways to embody and express it, so that, ultimately; the result is beyond my expectations. He did a fabulous job and was always exemplar in his communications and artistic, technical and personal commitment. The most wonderful thing is that visitors to Cathenge have no clue of the careful work behind the effects – they just experience the seamless magic!
I’ve been privileged to consult with expert sound engineer and electronic music producer, Aaron “SPAZ” Winett. He contributed excellent solutions to sound amplification challenges – especially the use of small transductive “exciter” speakers that effectively transform the entire Catolith into one large vibrating cat shaped speaker. This combined with the choice and positioning of the subwoofers give the Holofelnity purring much of its aural appeal.
Andrew, master carpenter, has been an indefatigable pillar of support. Having created the platform for Cathenge 2019 at Burning Man he was indispensable in re-purposing the platform to the new design used at Patricia’s Green. Andrew’s impeccable craftsmanship and unwavering loyalty have been key in the success of many of my projects, not least of all Cathenge.
Kris Peterson, aka “Kris Potter” because of his Harry Potter like ability to build and repair just about anything. Kris has been working with me longer than almost anyone – over 20 years – and was a stalwart on the Patricia’s Green build. Kris was instrumental in pouring the concrete for the two cats that had to have custom bases poured on site. Kris stuck with me through dawn the night before Halloween and put up all six cats.
I met Emmalie (aka, “Phoenix ‘Pheno’ Fatale”) at this year’s Burning Man where she assisted with the Cathenge Presentation at Dustfish Camp. Phoenix was perhaps the most reliable and consistent worker through the entire build and helped with a wide range of tasks, most notably; she clear-coated all the cats with no less than 9 layers of polyurethane clearcoat that gives them the deep gloss iridescence that is their signature daytime look. Phoenix let me know that this was her first “big” art installation project, and I’m really glad to have given her the opportunity and see her shine.
Luther was an unexpected surprise and immense blessing. A steady, efficient, well-organized, well-equipped worker with a wide range of technical skills from electronics and programming to carpentry. Luther used his Festool Track Saw to complete the installation of the side panels – a tricky job expertly and rapidly completed. I really didn’t know Luther, but he was referred to me by contractor Rhush Wanigatunga and he just started showing up and really contributing immensely to the project. I was quite blown away!
Professionally, Larry is an expert in international shipping logistics and was indispensable in the success of the Crossroads of Curiosity at the British Library because he saw to the successful shipping of the container in the midst of a longshoreman’s strike. Larry is also a great hands-on helper, and veteran of Patricia’s Green installs. Cathenge was his third (“Squared”, “Tara Mechani”, previously) PG install and he helped in many ways, and I especially appreciated his wisdom and insight.
It’s said that “an army marches on its stomach” and so few things are as important than keeping a crew fed. Opal very kindly cooked for the Cathenge build and brought us hot lunches and dinners, as well as her charming, engaging, empathetic company. Not to mention, Opal hosted the Cathenge installation at her well-known Dustfish theme camp at Burning Man 2022.
Set builder and prop-maker, Hannah Wise, was my main assistant and, as such, was totally instrumental in presenting Cathenge for Burning Man 2022. In addition to being an excellent presentation in its own right, Cathenge for Burning Man 2022 was a crucial trial run/stress-test for the Cathenge installation at Patricia’s Green. Multi-talented and remarkably capable, Hannah did a fantastic job making Cathenge BMan 2022 happen!
Philip, an itinerant carpenter and builder recommended to me by Zina the Moroccan Cat Priestess, stayed at Stinson Beach for several days and did diverse array of useful tasks and then departed to Portugal.
Happy to have met builder and artist Temple Gunther from Bolinas and had him join the build for a day. Looking forward to doing more projects with him in the future!
Olllie Right is a painter and craftsman that supported the project by assisting Andrew and consulting on the stencils and other decorative work.
Asia helped clarify the decorative decisions and strategies for Cathenge by assisting me in experimenting with different painting materials and techniques applied to the Catoliths. She also decorated the Catolith collar pendants.
Susanna, creator of the “Suitcase” for BMan 2019 helped with the Cathenge build for two or three days.
Mark, a barrister and confirmed “cat freak”, is the “Consigliere” of the Institute of Crazyology non-profit and has been one of the most loyal, consistent supporters of the Cathenge project since 2019 when he assisted in creating the fire braziers (with Brad Allen) that were a central part of the original installation. Mark didn’t fail to help with Cathenge for Patricia’s Green either.
DESIGN AND ENGINEERING
Wow! How refreshing!! In the world of structural engineering, RBHU is a tall, cool, pure glass of water (to use an expression). Selinda Martinez, Alan Lum and the rest of the RBHU team understand art and sculpture and have the capacity to think outside of the box (to use another expression). They are not merely engineers, but “artist engineers” who specialize in the engineering of large scale art. It was a pleasure to work closely with Alan Lum who knew how to achieve the structural requirements elegantly and with a minimum of added costs and labor while retaining exactly the form of the artwork. The RBHU structural engineering was simple for the builders and the administrators in city government to understand and work with, and was essential to the success of the project.
Scott Pinckert (Pinckert Environmental Design)
Scott, a professional carpenter and trained landscape engineer, was invaluable throughout the long, arduous engineering/planning obstacles in the process of producing Cathenge. Scott made a gigantic contribution to Cathenge by producing CAD drawings, attending meetings, and following the seemingly endless email discussions that were part of the process of producing the installation. In so doing he was a real morale support to me through some of the most challenging times in the entire process. It was unfortunate that he was not available for the build at Patricia’s Green because his superb craftsmanship and dry wit would have been a great asset to the build. However, he did get the Cathenge platform build started out at my studio in Stinson Beach.
My old friend and Patricia’s Green Artist Emeritus, Dana Albany (“Tara Mechani” 2019-20) said of Jill Manton, “She’s the best!!”, and it really is true. As the SFAC’s supervisor for the Cathenge project, Jill displayed limitless patience and kindness, and has been impeccable in her constancy as an advocate for not only the project itself, but for me as an artist. She helped Cathenge get over every kind of hurtle, navigating the way through a complex bureaucratic process. She was always there for me – resourceful, responsive, and responsible. And it’s not over yet!
Jill’s assistant, Paris, has been delightful to work with and very attentive to all the details. She has a genuine enthusiasm and caring for Cathenge, and has made an extra effort throughout the project to help it along orgnizationally. She and Jill make a great team!
SPONSORS AND DONORS:
San Francisco Arts Commission
It’s been a great honor to receive the grant for the Patricia’s Green installation. As a San Francisco native, I’ve been thrilled to have this recognition from the City of San Francisco and it has been a real pleasure to work with the SFAC.
Kathryn and Lewis Shepherd
My folks! My mother, Kathryn Shepherd, step-father, Lewis Shepherd, have been extraordinarily generous in supporting Cathenge. Without there support this could not possibly have happened. Not only have they outdone themselves in supporting Cathenge, but in so doing they have been instrumental in launching my new non-profit arts organization, “Institute of Crazyology”. Not only have they supported this financially, but they have been invaluable in advising me and helping me through the many challenges of producing Cathenge. Having such supportive, patient, understanding, and generous family is blessing of simply transcendental graciousness.
Burning Man Foundation
Burning Man has been a central pillar of support throughout my artistic career. Without Burning Man there simply would be no “Cathenge”. I’m grateful for the Burning Man Foundation’s funding of the arts and the opportunities it has provided me over the years, and, indeed; the entire cultural and aesthetic milieu Burning Man’s arts programs have fostered. For over 25 years, Burning Man has been an organization that has been not merely open to, but positively enthusiastic about my off-beat visions in a world where perhaps simply no one else would even be receptive. The great thing is that when visions like mine are given a chance, they are not merely good for Burning Man, but resonate with the world in general as can be seen in the case of Cathenge at Patricia’s Green.
Institute of Crazyology
As a new non-profit, I’ve been very pleased to have Cathenge be the organization’s first “use-case” scenario. The Institute of Crazyology has amply demonstrated how it can provide support for art and artists, and set a solid precedent for further endeavors that will benefit more and different artists to go “crazy” with their creativity.
Marian Goodell, CEO of the Burning Man foundation, who I first met in 1997(!), has been a key supporter of Cathenge from the beginning. In certain respects, I have made Cathenge with Marian in mind. For her part, she has steadfastly supported the ongoing project since it began 4 years ago. As a true ailurophile, she has believed firmly in the value of a Cat Temple. When I wanted to give up, she encouraged me and kept me going.
I want to thank John Law for being legendary. Why is he so legendary? Not merely because he is daring, but because he has an uncanny insight and intuition and knows what is important, and how to make it happen strategically. John used his power in subtle ways to make Cathenge a reality at Patricia’s Green.
My dear old friend, Paul Koudounaris, the world’s leading authority in feline history, is an essential inspiration for Cathenge. One night we were out together at an art opening in Joshua Tree, and the possibility of my making an installation in the area came up. I thought that since Paul was suggesting it that it really should be about cats. Then, In my mind’s eye, the vision flashed: I saw tall, elegant, mystical cat statues arrayed in a circle like the standing stones of Stonehenge, and I said to myself, “Ah! Cathenge!”. I daresay that without Paul the idea might never have occurred to me.
April Lelia Naftalin
My wife, April, does as much as anyone to support my efforts as anyone on this list, if not more so. Definitely she has to put up with more! I often work incessantly and obsessively, and it is April that looks after me during these periods of maximum effort when I am so intensely concentrated that I have difficulty managing the most rudimentary considerations in life. Additionally, April tends to play a “pinch hitter” kind of role in my projects – coming in to help when labor is short or deadlines are tight, and often doing the more menial and humbler tasks associated with the projects. She also often provides food to the crew making lovely Indonesian dinners. Her presence is much appreciated by all.
Last Wednesday, October 19th, the San Francisco Department of Recreation and Parks issued a one year permit for Cathenge to be installed and exhibited at Patricia’s Green Park (Octavia and Fell streets, Hayes Valley). This is the green light, the permission, Cathenge has been waiting for! By October 31st 2022 Cathenge will be all finished and ready to receive the public.
Needless to say, the whole Cathenge Crew of collaborators and I are very excited. We are in the home-stretch of production. Many final tasks and finishing touches are being completed. The “Holofelinity Sound-Light Sculpture” is being refined and perfected. The base is being decorated with laser cut space cat themed motifs and metallic gilding. The cats are being given their final clear-coat of iridescent hi-gloss finish. So many details being coordinated, a concerted collaborative effort of a dedicated team of artists and technicians, an elaborate and meticulous vision on a monumental scale is being realized.
It has also been a concerted effort of SF City Officials from different departments, as well as engineers, insurance agents and other professionals to work through and process all the regulations, civic and legal requirements to bring a sculpture like this to the public. It is easy to take public artworks for granted, but behind the scenes; the large amount of administrative work required to produce them cannot be underestimated.
Here are photos and videos documenting the latest efforts of Cathenge in progress.
That most celebrated sorceress of Greek Myth, Beautiful Circe, was famed for her ability to transform men into animals. The tale of her enchanted isle where Odysseus’s men are transformed into swine, echoes the history of the magic powers of the Cat Priestesses. Even as the spirits of the Cat Priestesses of Lost Lemewria resided on Earth only within the Catoliths, the shards of the Orb of Holofelinity, their power to transform life on Earth was great.
Earth was like a fresh canvas for the Cat Priestesses to paint their ideal picture upon. It was a living canvas, and their subjects were not only the plants and animals in all their variety, but the elements themselves and the very climate and geography of Earth. From the depths of the frigid seas at the height of the ice age, arose two continents: New Lemewria in the Pacific (named for their lost home planet), and Catlantis in the Atlantic.
The Cat Priestesses had the capacity to manipulate with great facility the DNA code of living organisms using the the psychokinetic power of their own minds, the power of Holofelinity. For them it was like weaving a tapestry. Woven into this tapestry most centrally was Homo Sapiens. It was around 70,000 years ago, a point in geological history marked by the eruption of the supervolcano, Toba, on what is now the island of Sumatra in present day Indonesia, that the Lyrans, in the aftermath of this eruption which blanketed the globe with a 1/4 inch of ash, that the Cat Priestesses, first created humanity as we recognize ourselves today. Taking indigenously occurring local proto-human primates, the Cat Priestesses wove strands of their own Lyran DNA code into that of the primates. This Lyran DNA was the proverbial “Missing Link” of evolutionary theory. The tiny number of surviving proto-humans were all given this Lyran DNA and made subservient to the Cat Priestesses who presided over them in the forms of beautiful women with the heads of lions, leopards, cheetahs, and tigers.
Upon New Lemewria and Catlantis the Cat Priestesses created cat civilizations that aspired to the finest values of Lyran Cat Civilization on Lost Lemewria, namely the celebration of beauty and the pursuit of pleasure above all. Yet, the Lyran Cat People were feline in essence and therefore always fundamentally predators at heart. For Lyrans beauty and pleasure was often found in the thrill of the hunt and the submission of the prey. Lyran civilization evolved predation into sado-masochistic rituals that were at once religion, theater, sport and – not least of all – sexual indulgence. In this spirit, the earliest Homo-Sapiens were created mostly for the pleasure and amusement of their Cat Lords and Ladies. It should be noted that by this time the Cat Priestesses from Lyra had incarnated on Earth into both Male and Female forms – Gods and Goddesses to humankind – but for the Lyrans themselves it was a replication of the social order that once existed on their home planet (I will return to this subject later).
Transubstantiation, a power ascribed to the Eucharist within the Catholic Mass, transforms bread and wine into the body and blood of Christ. It is to be noted that only that which IS the Lord Jesus Christ himself is transubstantiatied. In communion, neither Jesus’s loin cloth (technical name, “Perizoma”) nor his crown of thorns are tasted by the faithful – only his body and his blood. This is because transubstantiation only metamorphoses the body but does not transform the objects that belong to that body.
In the final days of the Cat Planet, the Cat Priestesses found themselves in a terrible predicament: Theirs was a power of transubstantiation dependent on a magical crystal, the “Orb of Holofelinity”, and if they could escape their doom through transubstantiation they could not take the Orb with them, and so they took a chance doing something that had been made taboo since time immemorial upon Lemewria: They chose to translate themselves into the Orb of Holofelinity itself. Doing this would shatter the Orb and also they could never return to their physical forms, but the most important thing – the power of Holofelinity – would be preserved. That power they would not allow the Reptilians to destroy.
A central motif throughout Arthur C. Clarke’s writings is the evolution of human consciousness through extraterrestrial – and seemingly divine – influences. In 2001: A Space Odyssey we are introduced to the “Monoliths”. These mysterious dark metallic oblong objects appear consequentially and seem to bestow a decisive blessing resulting in an evolutionary leap in consciousness: Immediately after touching the monolith in curiosity, the primitive early man (indeterminate hominid?) picks up the femur of a tapir and strikes his enemy dead: The use of tools.
Like the Monoliths of 2001, the Catoliths appeared on Earth mysteriously before the dawn of human civilization, before humans as we know ourselves existed. These were the shards of the Orb of Holofelinity that had transubstantiated from Lemewria to Earth. These shards were the Cat Priestesses themselves, the consciousness of the Cat Priestesses lived within these mighty crystals. The crystals took the form of tall, elegant, mystical cat statues that evoked the beautiful forms of the Lyran Cat Priestesses. The design of the Catolith Cat Statue of Cathenge is a replica of the ancient Catolith of the Cat Priestesses, the Catolith formed from the Orb of Holofelinity. The Catolith is the sacred icon of Holofelinity, Universal Cat Consciousness.
The Catoliths materialized on Earth at carefully chosen geographic coordinates that would amplify the Power of Holofelinity. There were only 9 Catoliths, and their locations are no longer certain – some may have been under the sea or deep within caves, but in Africa it was upon the banks of the Nile in Ancient Egypt that a Catolith stood. The Cat Priestesses, now consciousness bound to crystals, were pleasantly surprised by the pliability of life on Earth. Here was a primeval planet, beautiful, rich in resources, and with a pre-existing abundance of complex genetic diversity, yet no civilization whatsoever – all of Earth’s creatures were just animals.
The Cat Priestesses found that their minds could play here freely and that they could not only invest their consciousness into the life forms a round them and thereby experience physical existence once again, but that they could, using their minds, manipulate the DNA of all living things on Earth. This is how they became the animal headed Egyptian Gods. They melded the humanoid Lyran form (yes, lyrans were humanoid – but with feline characteristics) with animal forms – somewhat whimsically.
The Cat Priestesses created human beings to be the vessels of Lyran consciousness – their consciousness – and to fulfill the Lyran impulse to create physically. The early civilizations of Lemewria and Catlantis were formed by the humans newly mutated from an existing hominid race (like Neanderthal or Cro-Magnon). Cat Lords and Cat Priestesses were beautiful humans with cat heads and other feline characteristics. This drastic difference in morphology denoted their higher rank and power – they were the “gods” on Earth who carefully taught the newly created humans the arts of Civilization, and inculcated the Lyran ethos of beauty and pleasure before all else, and the practical principle of Holofelinity.
I’m running out of time for describing the practical use of Holofelinity, but I think that it is summed up well in this clip from “The Cat from Outer Space” (Disney, 1978);
In human history, one of the truly definitive moments was when the Egyptian solar deity, Atum Ra, transformed himself into the Great Cat Mau and beheaded the Demon Serpent Apep who threatened to destroy the Ennead (pantheon of nine Egyptian deities) that dwelt in the “Ished Tree” (Tree of Life).
Like so many antediluvian stories, the details are rather hazy, but I can set the record straight: The incident described in the Egyptian myth describes the final victory (circa 12,900 years ago) of the Lyran Cat Priestesses over the dreaded Disco Reptilians. This was a conflict that started on a planet orbiting the pole star, Vega, 25 light years away from Earth.
This planet, known as “Lemewria”, was the home planet of the Lyran Cat people whose highly spiritual existence informed a civilization devoted to beauty, pleasure and love.
Indeed, it was such a perfectly beautiful utopia of orgiastic sensual gratification that it attracted the implacable enmity of the Disco Reptilians whose sole gratification, diametrically opposed to the values of the Lyrans, was in inflicting suffering in all its forms upon others. For Reptilians, subjugation equals celebration, and there’s was an interstellar discotheque of wanton destruction. Ultimately, the highest flowering of Lyran civilization was decadent and resulted in weakness through an excess of self-indulgence and so it was that Lemewria fell completely to the Disco-Reptilians who utterly destroyed the Cat Planet.
The “Cat Priestesshood of Pussiopolis” existed on Lemewria as a sacred order of female Lyrans whose special duty it was to care for the “Orb of Holofelinity”, a vast crystalline orb composed of the mysterious element of “Pizzazzium”. This Orb of Holofelinity generated the “Universal Cat Consciousness” that allowed all Lyrans to manifest their dreams through the power of their minds. Lyran society was based pre-eminently upon the mind, and through the power of thought alone a Lyran could be anything or create anything. The Cat Priestesses were the stewardesses of this metaphysical power and their ethos was one of beauty, pleasure, and love above all.
They were beings of limitless compassion devoted to the pursuit of endless pleasure. Through providing this power generously to Lyran society they unintentionally fostered a world where the majority of Lyrans chose to occupy their time by transforming themselves into pizza. It sounds very odd, but actually it is logical: If all you want in life is to experience pleasure then you will wish to BE pleasure itself, and pleasure in its purest form is actually pizza. Nothing is better than pizza.
Earth’s turns in “Great Years” that mark the complete precession of the equinoxes over a 26,000 year period and the transit of the entire zodiacal circle. From our present new age of Aquarius, if we look back merely 4 Great Years we see an Earth in the depths of the Ice Age and aligned not with the pole star Polaris, but with the pole star, Vega. This was the earth that the Lyran Cat Priestesses, refugees exiled from their long lost love planet of Lemewria, beheld when they arrived. Girded in mighty glaciers, the Lyrans beheld crystalline beauty in every snowflake and an exhilarating freedom from persecution – for the Lyrans; Earth was salvation.
Perhaps it seems unimportant to which star Earth aligns, but for those like the Lyrans who used not spaceships, but the power of their own minds to cross the vastness of space this alignment was very important. At that time, between Earth and Vega there was an electromagnetic concordance, a standing wave, a “wormhole” that allowed the Lyrans to transubstantiate from the demise of Lemewria to the dawn of Earth. There in the wilderness of Earth, when they beheld the great prehistoric cats, Saber Tooth Tigers, Smilodons, the Lyrans were smitten and melded their form with that of the Cats they admired.
Combinations of human with animal, such as are seen in the iconography of Ancient Egypt, are termed “therianthropic” or “Theriencephalic”, and the earliest humans beheld their creators, the Lyran Cat People, as having human bodies and the heads of lions.
Cathenge made it back to Black Rock City this year, 2022! This installation of three Catoliths facing outward surrounding a fire brazier was placed at 3:30 and Esplanade in Black Rock City. The installation was smaller and more intimate than the 2019 Cathenge installation that featured six cats in a 100′ circle. The intimacy of the installation, and the fire brazier burning in the center, provided opportunities for late night gatherings where the Mysteries of Holofelinity, the Cat Priestesshood of Pussiopolis and many other subjects were discussed.
This Burning Man installation was kind of a “Victory Lap” for the forthcoming installation at Patricia’s Green Park in Hayes Valley, San Francisco, and also a test of the new 3D prints and the new interactive electronic sound and light system In order to produce a version of Cathenge strong enough to stand outside in San Francisco for one year the Catoliths had to be redesigned and reprinted completely. The 3D printed cats you see here are a more refined and durable version of what was presented in 2019. Careful work was done in the 3D modeling to produce a “2 ply cat”, that is to say, the print has an outer layer and an inner layer as well as a layer of “infill”. The skin of the Catolith is effectively 1/2″ thick, and the Catolith’s sections all join together neatly with a system of interlocking laps.
Another important improvement for the new and improved Cathenge is the “Holofelinity Interactive Light and Sound Sculpture.” The Catoliths feature “interactive harmonic purring” which is a central part of the Cathenge concept. At Burning Man we were most gratified to find that the purring system kept functioning for the entire week without any failure. This was a great testament to the careful electronic engineering by Theremin Barney and programming and sound design by Jacob Tonski. Great teamwork all around!
Speaking of teamwork, I certainly didn’t do this alone. Many thanks to everyone that helped make it happen out at Black Rock City:
Hannah Wise was a great assistant, and really my right hand woman in making sure this thing got out to the Playa and got put up. She did a great job, went through a lot, worked hard, and saw it through.
Theremin Barney was – as always – indefatigable and unwavering in his support and with his incredible electronic skills resolved problems that perhaps no one else could. Thanks to Barney the interactive sound system functioned all week.
Jacob Tonski did loads of last minute wiring and troubleshooting for Cathenge’s installation on the Playa. While Jacob did not come out to the Burn, he was instrumental to making it a success and is a key collborator for the installation at Patricia’s Green.
Phoenix Fatale did whatever was needed to make sure Cathenge happened. Very grateful to have had her help with the project.
Mark Wurtzel helped by bringing the fire brazier and gave his loyal, energetic support to the project throughout the week.
Kian Tabrizi put in long hours with me assembling the Catoliths in the middle of the night when the installation was completed on opening Sunday.
Many thanks to Opal Essence and the others at Dustfish Camp for hosting the installation.
Special thanks to Marian Goodell – “Always a fan of Cathenge” – for being key in making it happen.
Cathenge (2019 – 2022) has been made possible by generous support from: