What is at stake is nothing less than the Goodness and Beauty of GOD

Pain and darkness seems aesthetically motivated somehow, they are required as contrast. Reality is maybe best understood in light of fiction, in light of storytelling and artistic sensibility: like David Lynch often talks about, he has to show the most dark and utterly rotten to let the light shine as bright as it can - to make it radiate and not be a static white nothing. So the computation-vine, twisting with Brownian jitters through unlikely and awful events to perfect the formula of aesthethics in it’s dialectic of positive and negative - exists to reveal the radiance of Truth - but why, for what? For itself? That doesn’t make sense if God is the Absolute. For us, individual consciousness’, separate beings from God? It seems so, we are needed as observers, but why? Is God utterly lonely, and need us to love and be loved? Isn’t God already a plethora of Elohim hosts made one through perfect love?

These contradictions can be taken to be the background for the gnostic urge to have a celestial hierarchy, where the lower levels of less perfect Beings are the source of creation - the naïve Sophia of Valentinus vision. In Hunter Hunt-Hendrix’s system the position of Sophia is taken by the personification of the Good, True and Beautiful - Plato’s Form of the Good, Blake’s Ololon .So while the absolute - HAQQ - is non-dual and doesn’t have a need to ever do anything or change, the emanation of Goodness and Beauty, of Pure Love, is lacking in her very essence: she is lacking a lover, a subject to love. Thus she births the subject, the beloved, but the subject can’t take the infinite love, somehow the love is too strong - OlOlOn did not have the knowledge of how to create a receptacle of infinite love - and this causes the Fall: birth of time and the process: the Catastrophy of History as the shattered vessel hurls through nothingness trying to piece together the shards of it’s own forms so they can scoop up the fleeting light-plasma of OlOlOns love that spilled all around. This hurling desperation is of course suspended in HAQQ - in the absolute - and the darkness implicitly manifests as negative space of the love; negative space that is able to materialize and hijack vessel shards - forms - and mobilize them to restore the darkness: the darkness seeks to be undistinguished, and thus entropicaly dilates the light. The highest end isn’t thus the highest reconciliation in this sense - relativisation is the death of beauty and goodness - it is rather a definition, an elaboration that allows the receptacle of infinite love to be made whole, to heal, so that it can perfectly receive OlOlOns infinite light.