I am running a very philosophical campaign for Kult. I am exploring ideas about the connection of Plato's world of Forms with Metropolis. I also work with the psychology of Alchemy. I don't know if my players understand what is going on. I suppose that is to be expected since part of the charm of Kult is the mystery. I am running out of ideas, however, and would be interested to see if anyone else out there has made any other unique correlations between the Kult cosmology and philosophy.

I envy you - my players's idea of philosophy is deciding what gun to use...
I don't know much about Plato, but for Kult I would recommend investigating the Jewish Kabbalah (or Quabalah), which the Archons are based on (or perhaps it's the other way around). I haven't actually studied it much yet but it is pretty interesting.

Yes, I have looked in to the Kabbalah. In fact one of the player characters is a Jewish historian, so I use the Kabalahistic names for the Archons (sepheroth [sp?]). If you have the chance I recommend checking out the book The Black Arts by Richard Cavendish. One of my major concerns with Kult is the lack of source material, but since the game deals so heavily with true (?) occult, any book on the occult sciences works smashingly as a source book. The Black Arts is good because it gives a brief description of most of the western occult sciences, enough info for you to do some simple numerology or find the names of the Archons and their corresponding Greek gods or Major Arcanna.

777 by Aleister Crowley has some corresponding data on differing Emanations (though most of it sourced elsewhere). As for philosophy in a Kult setting, I have no idea, although I applaud your efforts - I run more theological distillations. Not being too familiar with philosophy could you give some examples of your ideas... psychology of Alchemy (smells piquant).

One of the main topics in my current chronicle is how Platonic dualism and Alchemy fit together in the Kult cosmology. Basically in Platonic thought there is a world of forms. All souls are exposed to this before they are born. This world of forms holds the "perfect" form of every conceivable object and emotion. The perfect rose, the perfect diamond, the perfect love, the perfect hate...
Well, I believe that Metropolis is an extension of this world of forms. Unfortunately, since man's fall Eden (Metropolis) has fallen into disrepair. Perfection is not what it used to be.
Alchemy fits into this because it is able to bring things from Metropolis that cannot normally exist in Elysium. In the Death Conjurer's Guide it speaks of bringing elements across and keeping them stable through the use of Alchemy. Now, in the Black Arts (by Richard Cavendish, not a "real" Kult supplement, but it could be) it details the process of turning lead into gold. Actually it is a process of transcendence from a lower state to a higher one. Unlike plain chemistry, Alchemy is both a physical and a psychological process. The material being transmuted is broken down to base elements, at the same time the Alchemist himself (herself) breaks down his own spirit. As the substance is elevated to gold (a perfect substance) so is the Alchemist elevated to a god.
Granted, this is very basic. The process is actually made up of 12 steps, taking years to accomplish, but this should give you a general idea of what is going on.
In your reply, you mentioned that you follow a more theological approach. I would be very interested to hear any ideas you might have. However, don't break the Illusion.

Yes. Try incorporating Sigmund Freud into your players next jaunt into the dream lands. The dream lands are one of my favorite areas of KULT exploration, and always seems to play second fiddle to the Almighty Metropolis. Why the dream lands is reduced to a mere 6 pages in the 2nd ed is, in my opinion, criminal neglect.

I also keep a dualistic approach in mind, but with duality in the sense of a trinity (hmm. doesn't make sense, let me explain). I am integrating the idea of duality, but in the sense that duality can only sustain itself by a third force. In my current campaign, though I use the Archons & Death Angels by name it is more of the force (the portfolio, so to speak, they represent)I am using them for.
I am using the struggle between the unity of family and faith versus the disunity of both with the characters as the third force. Pretty basic, at first, but the idea of the third force that drives both dualities is the idea of pillars Mishpat (kingly) and Zedek (priestly), with Shalom at the apex supported by both. What I am trying to eventually drive the players, in a vague direction that gamemasters only can, is that they are the Godhead, this third force with the Archons and Death Angels as perpetual forces that are driven in duality by the characters presence. The Demiurge I have discarded with, I know, I know... but I have no need for him because the characters encompasses the idea of the Godhead determine the role of the Archons/Death Angels in Metropolis & Elysium.
Unfortunately I have them at the moment as any pawn being used by the Archons/Death Angels. Hmm, this almost sounds like a long-winded explanation of Awakening... but what I am trying to say is metaphor. The Archons/Death Angels are metaphors for forces and the characters are metaphorical for the Godhead. Theology is so easy to throw into Kult (I admire the use of philosophy), any god can be assimilated, but the Theory of Godhead/Religion makes it a bit deeper.
I use Moscow as the perfect metaphor for the struggle... upsurging capitalism in opposition to released spirituality (but neither is good or evil, because it is not a struggle against what is right)
By the way I am very impressed with your conceptual designs on Kult - not just scraped from their rule books. I wish I could offer some suggestions for you, but I don't know how much your players know of your 'cosmology' (mine are newly skinned pups). How do your players fit in with it?

Sorry I took so long to answer. I had a busy weekend.
At any rate, I believe that my players are clueless. I feel like at the end of every adventure I want to ask them if they understood what just happened. They keep showing up, so I can only assume that they are having a good time. I also suppose that their not knowing what is going on could be a good thing.
I don't want to bash another system, but the White Wolf games start the player characters off with a little knowledge about the World of Darkness. Kult and CoC start off with a blank slate, and the discovery is the horror if the ordeal. I am trying to balance discovery, with emotional horror, with a little action (to keep the PCs sated).
Last week I was impressed. One of the characters rolled a natural 20 on his Ego throw. His fear projected into a Nazi ritual taking place on Walpurgisnact. What impressed me was that the other PCs (none of whom have read the rules) sort of realized what was happening, and they helped him snap out of it. Maybe clueless is a tad harsh.

I know what you are saying, but I feel like when we get done playing they still haven't grasped what happened. My fear is that they don't even get that strange feeling you are supposed to get after a David Lynch movie. The kind of "What the hell just happened?... I don't know but is was cool!"

Best White Wolf game I ever ran was when I introduced the system to some new players who didn't have the books and had never played in WoD. I started them out as Childer Vampires, and they only knew what their Sires had told them! It was great not to have to keep telling players that their characters didn't know something.

The same thing (clueless players) happened when I ran Kult the first time back in '95. None of them had the book, so they knew only what I had told them, and it was great! Being good players, they picked up on things pretty quickly, but because they only picked up on what I revealed to them (vaguely, as if through a glass darkly), they had a great time with it. Everything was new, and that is a large part of the fun of horror - the unknown.

I agree, and it also gives the gamemaster the liberties to create his own cosmological stance. When I first played Vampire (urgh) the other players knew everything, read the books, knew the white wolf world and I was a novice without a clue. I had Kult and CoC by that stage - it was good until the books started affecting game play and player's tested the gamemaster, bad form...
As Mr. Lovecraft so immortalized... Remember characters' reality is going to be subjected to what they experience. Just think, when the characters experience the same thing but all with different twists... everyone sees differently.