Michael Zos Dewitt KIA and CTHULHU Sketches for a Non-Dualistic Model of the Universe

Total Page:16

File Type:pdf, Size:1020Kb

Michael Zos Dewitt KIA and CTHULHU Sketches for a Non-Dualistic Model of the Universe Michael Zos DeWitt KIA AND CTHULHU Sketches for a non-dualistic model of the universe At first I would like to thank my friend Andrea Fogli for his invitation to take part in this symposium and to speak to you on this occasion. I also would like to thank Valentina Mushy from Rome who will support my speech with some music. We both are connected in our hearts by our musical projects, so I’m very happy and proud of this collaboration. Secondly I would like to bring forward an excuse: Being an Austrian my first language is German. In order to be understood I wrote this lecture in English. Then Andrea told me that it would be better if the lecture was held in Italian, so it was translated. Although I am not proficient in Italian I decided to read it by myself, so please regard any bad pronunciation as an integral part of the performance. My idea for this lecture is to give a short summary of my own philosophy and to present two models, or better two stages in the development of one model, describing our experience of reality, or in other words the relation between our individual mind (the ego) and the outer reality (the world). My own step into philosophy was a consequence that came from the practice of magic. When I was a young man, I experimented with the techniques of Austin Osman Spare, a British occult artist, who had developed simple techniques for wish fulfilment by symbolizing subconscious desires1. As these techniques obviously worked, at least in many cases, I asked myself: what is the mechanism that enables such an impact of the individual mind on the events of outer reality? This was my own step into philosophy, yet it is not necessary to connect that question with such obscure practices as magic. I’m sure that everybody will find cases in his or her life, in which there can be observed such a connection between the mind and the events of outer reality. An example is the phenomenon of coincidence that was described by Carl Gustav Jung2. Another one is the “return of the suppressed” which was described by Sigmund Freud in his theory of psychoanalysis. In his essay “Beyond the Pleasure Principle” Freud writes that this return of the suppressed can appear in form of 1 Austin Osman Spare, The Book of Pleasure (Self-Love). 2 Carl Gustav Jung, “Über Synchronizität” in Die Dynamik des Unbewußten, p. 555. repeatedly happening events in the life of a person.3 He called this form of repetition compulsion “the destiny compulsion” and this is exactly what I am talking about: The effect of unconscious concepts on the events of outer reality, which appear to be somehow connected although there can’t be a causal relation between them according to scientific and common sense assumptions. 1. The Kia-Model To explain how this process nevertheless could work I developed a first model, which I tried to visualize by the first letter of Austin Osman Spares “Sacred Alphabet”, by which he symbolized “Kia” or the “Death Posture”. It is not necessary to know what Spare meant with these ideas, important is only that the figure consists of two overlapping elliptic fields, which are arranged in a slightly rotated position, so that there are two ends on the top and one end in the bottom. Now in my model one of these fields represents the mind of the observing individual (the ego) and the other one what we experience as the observed reality (the world). These two can also be taken as the traditional concepts of the subject and the object. Then I assumed that the upper part of the figure represents our conscious experience, and the lower part, where outer and inner reality overlaps, the world of the unconscious. The crucial point of this arrangement is that what appears to be a twofold system on the level of conscious experience turns out to be something indifferent and unified on the level of the unconscious. In allusion to Albert Einstein’s “Raum-Zeit- Kontinuum” I called this unified field of inner and outer reality the “ego-world-continuum”. Thus I got a model that seemed to offer quite interesting possibilities and explanations: On a first level, which is represented by the upper, conscious part, it describes the experience of reality in a common sense way of thinking which is also reflected in a certain understanding of science: We have an observer (the subject) who receives data from an independently existing reality (the object). Between these two poles of experience the process of perception is constituted. Yet in the lower part we see, that these two are interconnected in a way that escapes our conscious experience. It is the realm of forgotten wishes, of unconscious concepts from the past, which predetermine the reality that we experience as destiny in our lives. 3 Sigmund Freud, „Jenseits des Lustprinzips“ in: Psychologie des Unbewussten, p. 213ff. When I say that the unconscious mind predetermines the outer reality, how should we imagine such a process? Well, to describe this process I assumed that the unconscious mind is – amongst others – a realm of concepts. I don’t understand this term as the meaning of an abstract idea or representation in language as in the German word “Begriff”, but rather a preliminary design of reality, which connects a certain need or desire with its realisation in reality. For example the concept of a table is based upon our desire to have an elevated surface for working, eating or whatever. This need is connected with the practical use of a material surface on legs to achieve that purpose. Such concepts are not so much like platonic ideas, but dynamic designs of reality that contain and sustain what has been achieved by evolution. This predetermination by unconscious concepts can be applied to every part of our perceivable reality. As a consequence we can see all material reality as an expression of such unconscious concepts. The underlying concepts that we share make up the reality that we experience in our society and the world. If we look at the figure we furthermore can realize that the process of perception as a passive reception of reality can be complemented by the unconscious creation of reality so that we get a closed circuit, in which perception and creation of reality are only different sections of the same movement: What we have perceived, what we have desired, will be forgotten and thus becomes a part of the unconscious, and this unconscious concept will inevitably return and constitute our new reality. This circuit can be regarded as the basic mechanism of all our experience and it is rooted in the assumption that – if they are not conflicting with each other – all our wishes must become reality, and in reverse, that all existing things are the manifestations of our forgotten wishes. This idea can be equalled with the eternal cycle of Samsara in eastern philosophies. From a different viewpoint it has also been formulated by Friedrich Nietzsche as “eternal recurrence”.4 In 20th century philosophy similar ideas had been put forward by Gilles Deleuze5 and Jacques Derrida6. This theory of the Ego-World-Continuum was developed around 1989 and I sometimes called it the “Kia-model”, named after Austin Osman Spares term Kia, which he had symbolized by the single twofold letter. I recently found that the phenomenologist Maurice Merlau-Ponty had described in his later philosophy quite a similar idea of interweavement between inner and outer reality, the ego and the world, which he called the “Chiasmus” 4 For example in his main work Also sprach Zarathustra. 5 Gilles Deleuze, Differenz und Wiederholung. 6 Jacques Derrida, “Die difference”. (after the Greek letter Chi, which is formed by two crossed lines).7 So we could name this model also the Chiasmus-Model. 2. The Cthulhu-Model I had been quite satisfied with this model for many years, but started to feel a little bit uncomfortable with it when I realized one weak point of it. This weak point was the status of other individuals. My model was the perfect representation of an egocentric one-person universe. I myself was the center of the world, and other living beings were just the manifestation of my desires, or at least agents to fulfil my desire. Actually this was not the way I wanted to see myself and my part amongst others in every day life! So I tried to reformulate my theory and to give also the other a valid representation in my model. I don’t know how it exactly came, but when thinking about this problem there appeared to my mind the vision of a giant deep sea kraken of cosmic size, with infinite many endless tentacles, which were covered with countless luminescent suckers that glowed into the night of the universe. As the flesh of the kraken was invisible like glass, there could only be seen these luminous suckers, which finally turned out to be eyes staring out into the darkness and observing the movements of the other suckers. Without being able to see the flesh of the tentacles that connected all suckers, each eye thought to be a separate individual entity, like all the other eyes that were watching it in reverse. No single eye was aware that it was just a part of a giant living being, and this for the simple reason that its whole body was not in the same way visible than the luminous sucker eyes of my cosmic kraken.
Recommended publications
  • Practical Sigil Magic.Pdf
    Other Books by the Author Kursus der praktischen Magie (A course of Practical magic) Secrets of Western Sex Magic: Magical Energy and Gnostic Trance High Magick: Theory and Practice Secrets of the German Sex Magicians: A Practical Handbook for Men and Women Contents Introduction..............................................ix Chapter 1: Austin Osman Spare and His Theory of Sigils.....1 Chapter 2: Fuller Exploration of the Word Method..........15 Chapter 3: The Magical Trance / Activating the Sigils.....29 Chapter 4: The Pictorial Method...........................43 Chapter 5: The Mantrical Spell Method.....................55 Activating/Internalization of Mantrical Sigils ● Words of Power ● Activating/Internalizing Words of Power Chapter 6: The Alphabet of Desire.........................63 The Alphabet of Desire as a Structuring Prin— ciple ● The Alphabet of Desire as a Mirror of the Psyche Chapter 7: Working with Atavistic Nostalgia...............85 Chapter 8: But How Does It Work?..........................95 Sherwin's Model ● Model A ● Model B Chapter 9: Constructing Sigils with Planetary Cameas.....105 The Magical Cameas of the Planets (“Tables”) and the Seals and Sigils of the Planetary Powers, Intelligences and Demons Conclusion...............................................123 Glossary.................................................125 Comments.................................................129 Bibliography.............................................133 INTRODUCTION Sigil Magic, Particularly the system developed by the English painter and sorcerer Austin Osman Spare, is one of the most efficient and economical disciplines of magic. For the most part, it can be performed without complicated rituals, needs hardly any paraphernalia, is independent of philosophical and dogmatic premises and, due to its simplicity, can be learned easily and quickly. Most important of all, none of the magical techniques we know of today is more efficient and will give even beginners the immediate chance to convince themselves of its power and their own abilities.
    [Show full text]
  • The Zoëtic Grimoire of Zos
    THE ZOËTIC GRIMOIRE OF ZOS The Formulae of Zos vel Thanatos By Austin Osman Spare First Formula: Of the White Sabbath—as first told me by a Witch ARGUMENT: Actually there is neither a Black nor a White Sabbath: the ethical criterion of all acts is whether they are anti-social or so motivated. Where two or more of a kind of equal maturity and inclination enact for consummation, then, if harm they do it is only to themselves—which I doubt—and far less harmful than the practices of those who mutilate or deny their bodies in the name of a culture or a religion. The latter are invariably prophets or propagators of sterility, whereas the one outward tenet of Witchcraft is silence to "unlike others". The Sabbath is an inverse-reversion for self-seduction, an undoing for a divertive conation. Sex is used as the technique and medium of a magical act. There is not only erotic satisfaction; the sensualist is made detached and controlled until final sublimation; his whole training is submissive and obedient until, by cold amoral passion, he can transmute control and divert him- or herself where desired. The Witch so engaged is old, grotesque, worldly and libidinously learned and is sexually attractive as a corpse; yet she becomes the entire vehicle of consummation. This is necessary to transmute the personal aesthetic culture. Perversion is used only to overcome moral prejudices or conformity; the mind and desire must become amoral, focused and made entirely acceptive so that the life-force is free of inhibitions prior to the control.
    [Show full text]
  • Austin Osman Spare Y Los Comienzos Del Automatismo
    Sans Soleil Especial Austin Osman Spare Sans Soleil Especial Austin Osman Spare AUSTIN OSMAN SPARE Y LOS COMIENZOS DEL AUTOMATISMO. Julián Moguillansky (este texto es una versión del publicado en “Nosotros los Brujos”, compilado por Juan Salzano, ed. Santiago Arcos Editor, Buenos Aires, 2008) La historia nos remite a 1924 como el año en que André Breton lanza su Primer Manifiesto del Surrealismo, creando así un movimiento que, por la vía del automatismo, buscaba eclipsar la censura de la conciencia para llegar a una verdad alojada en el inconsciente. Ya el propio manifiesto se encargaba de escribir una suerte de canon que desembocaba necesariamente en sí mismo: Swift, Baudelaire, Sade, Poe, Jarry, Lautréamont, Mallarmé, Nerval, Apollinaire… Sin embargo, también corría el año 1924 cuando en Londres se publica- ba un libro titulado “El anatema de Zos: un sermón a los hipócritas. Un escrito automático de Austin Osman Spare”; texto maldito e insultante que catapultaba a su entonces exitoso autor al absoluto olvido. Lejos de representar una tem- prana irrupción del Surrealismo en Inglaterra, este “Anatema” conformaba el portazo final que el primer surrealista daba al gran público. Es necesario retroceder hacia el año 1886, cuando un 30 de Diciembre en Londres nacía Spare dentro de una familia Metodista, hijo de un policía y un ama de casa. Siendo apenas un niño comienza a tomar clases de dibujo en el Lambeth Art School; luego es aceptado en el Royal College of Art en su adoles- cencia gracias a una beca. Uno de los principales eventos dentro de la temprana juventud de AOS será su encuentro con la enigmática Señora Paterson.
    [Show full text]
  • A Catalog of Books from the Collection of Gerrit Lansing Division
    The Swarming Possibilities (Some Occult, Unused) in American Life A Catalog of Books From the Collection of Gerrit Lansing Division Leap and Grey Matter Books Covers The Swarming Possibilities (Some Occult, Unused) in American Life Front / inside back: 1. A Catalog of Books From the Collection of Gerrit Lansing De occulta philosophia libri tres. Heinrich Cornelius Agrippa [1486-1535]. Inside front / back: 68. Causal Mythology. Charles Olson. 72. Projective Verse. Charles Olson. Division Leap and Grey Matter Books Foreword Adam Davis The Immanent Library Catalog Part I The Occult Part II Teddy Roosevelt Rides the Range Reciting Swinburne Part III Charles Olson and His Circle Part IV Poetry and Literature Bibliography Afterword Sam Burton Thanks Forward. The Immanent Library surprise then that a remarkable poet in the first paragraph - works number of poets on this list were on bibliomancy, stichomancy, gay or queer and began from rhapsodomancy, sortes, and many “All the power of magic is founded upon Eros. forbidden ground. A remarkable other subjects. Reading through The work of Magic works is to bring things number of them were connected Gerrit’s library could make one an together through their inherent similarity.” to the city of Boston, and an even exceedingly well-informed heretic, wider number had a relationship yet the power of it was something – Marsilio Ficino, De Amore. to Lansing and his library. greater. Libraries can have their own genius loci, as powerful a “Nunquam sine phantasmate intelligit anima.” Some of this influence is direct sense of place as New York or and visible. Charles Olson’s influ- Alexandria.
    [Show full text]
  • \-WG.~\· B. Uru).Y Professor Philip Armstrong Adviser Comparative Studies Graduate,, Program ABSTRACT
    THE WILL TO CHAOS AND A DANCING STAR: ALEISTER CROWLEY, NEO-P AGANISM AND THE TECHNOLOGIES OF THE SELVES THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Joseph A. Marino III * * * * * The Ohio State University 2007 Master's Thesis Committee: Approved by Professor Hugh Urban, Adviser Professor Michael Swartz \-WG.~\· b. Uru).y Professor Philip Armstrong Adviser Comparative Studies Graduate,, Program ABSTRACT Entrenched in Victorian England and raised in a puritanical Christian family, Aleister Crowley delved into Western Esotericism and the study of ritual magic as a means to subvert the stifling environment into which he was bom. Among his chief acts of subversion were his many displays of a very fluid and malleable identity. He played with “selves” like they were merely wardrobes for a day and found himself developing more fully for the breadth of experience that he achieved from such practices. In the wake of Friedrich Nietszche, Crowley looked to the strength of each individual will to deny being identified by traditional systems such as Christianity or “Modernity,” pushing instead for a chaotic presentation of the self that is both wholly opposed to external authority and wholly enthusiastic about play, contradiction and experimentation. Through the lens of Michel Foucault’s “Technologies of the Self' and Judith Butler’s notion of performativity, one can come to see Crowley’s performances (through dress, pseudonyms, literary license and more) as operations that he performs on himself to knowingly affect a change in his identity.
    [Show full text]
  • Outer Gateways
    1. Invocation by Hamsa OUTER GATEWAYS Kenneth Grant SCOOB BOOKS PUBLISHING LONDON Copyright © Kenneth Grant 1994 First Published in 1994 by SKOOB BOOKS PUBLISHING Skoob esoterica series lla-17 Sicilian Avenue Southampton Row London WC1A 2QH Series editor: Christopher Johnson All rights reserved ISBN 1 871438 12 8 Printed by Hillman Printers (Frome) Ltd Contents Introduction 1 The Primal Grimoire 2 Tutulu 3 The Unfamiliar Spirit 4 The Double Voice Behind Liber AL 5 The Madhyamaka & Crowley 6 The Fourth Power of the Sphinx 7 Magical Significance of Yezidic Symbolism 8 The Mirroracle 9 Ufologicks & the Rite of Mithra 10 Typhonian Implicits of Arunachala 11 Apects of Dream Control 12 Creative Gematria 13 Wisdom of S'lba 14 Mystical Gnosis of S'lba 15 Magical Formulae of S'lba 16 Qabalahs of S'lba - I 17 Qabalahs of S'lba - II Glossary Bibliography Index Illustrations Plate 1 Invocation by Hamsa frontispiece 2 Cthulhu by H.A.McNeill II 3 The Magician (Frieda Harris / Aleister Crowley) 4 The Chariot (Frieda Harris / Aleister Crowley) 5 The Sabbatic Candlesticks and Satyr 6 Black Eagle by Austin Osman Spare 7 Seal of Zos Kia Cultus by Steffi Grant 8 Desmodus by Kenneth Grant 9 “Thirst” (Steffi Grant / Aleister Crowley) 10 Horus byy H.A.McNeill II 11 Yantra of Kali 12 Formula of Arrivism by Austin Osman Spare 13 The Self’s Vision of Enlightenment by Austin Osman Spare 14 The Arms of Dunwich The Eye of Set The Seal of Aossic 15 Ilyarun by Steffi Grant 16 Evocation by Hamsa 17 Astral Marginalia (Shades of S’lba), by Kenneth Grant Line Illustrations 18 The Yantra of 31 note music (William Coates) 19 The Tree of Life To the memory of RUDOLF FRIEDMANN I can tell you how to find those who will show you the secret gateway that leads inward only, and closes fast behind the neophyte for evermore.
    [Show full text]
  • Austin Osman Spare
    AUSTIN OSMAN SPARE In The Viktor Wynd Museum of Curiosities, Fine Art & Natural History May 2017 – September 2017 pg 103 – Introduction by Viktor Wynd pg 105 – Austin Osman Spare by Phil Baker pg 121 – AOS & Eily by Dr.William Wallace pg 131 – Bette Davis Eyes by Stephen Pochin pg 141 – A Letter from Frank Letchford Self Portrait, 1936. 98 99 Self Portrait, c.1910 (Coloured Chalk on paper). Portrait of The Artist & His Wife, March 26th 1912 (coloured chalks & ink on paper). 100 101 INTRODUCTION “Everything said from the angle of a real collector is whimsical” – Walter Benjamin Few artists have captured my imagination so strongly or held it so long as Austin Osman Spare. I first saw his work in James Birch’s & Alastair Brotchie’s homes over a decade ago & owe them a huge debt of gratitude for the introduction. I started buying & selling them shortly afterwards, building up my own collection as I could. I share my life with his work & can not imagine a day without with out one – indeed it would be an unbearable penalty for me - as I sit at my desk & write this I look up & am entranced by The Flower Girl, then to W.B. Smith, then to a sublime Self-Portrait from 1923 & I have just got of the phone from unsuccessfully bidding on another – I am glad I didn’t buy it because I would have struggled to pay what I did bid, but there again I am feeling slightly nauseous with a sense of an unfulfilled longing & what is obtained without pain does not always bring great pleasure.
    [Show full text]
  • Chapter Five ROSALEEN NORTON's MAGICAL PRACTICE
    Chapter Five ROSALEEN NORTON’S MAGICAL PRACTICE Details of Norton’s approach to ritual magic can be gleaned from a range of magazine articles published, for the most part, during the 1950s and 1960s, several of them autobiographical, others written by journalists fascinated by Norton’s persona as ‘the Witch of Kings Cross’.1 There is also data from court hearings and police interviews associated with controversial photographs seized by NSW Vice Squad police in 1955 which showed Norton and Greenlees engaged in what were claimed to be ceremonial rites dedicated to Pan. In addition, there is a small amount of television documentary material2 and photographic documentation (both published and unpublished) to supplement the data provided by Norton herself, both in interviews and autobiographical articles.3 Finally, and not insignificantly, copies of extant unpublished letters written by the distinguished musician Eugene Goossens to Rosaleen Norton describe their shared interest in sex magic and paganism and provide important insights into the activities of Norton’s inner magical circle. The various aspects of Norton’s magical practice can be summarised as follows: a) Individual trance-magic episodes during which Norton sought to venture forth on the ‘astral planes’ in a state of mental dissociation induced by self- hypnosis. It was while on these trance journeys that Norton claimed to encounter the ‘god-forms’ of the principal deities in her magical pantheon. b) Sex magic activities with members of her magical coven, based substantially on practices derived from the magical writings of Aleister Crowley. c) Ritual magic invocations and other ceremonial activities which included improvised elements from Kundalini Yoga, Left-Hand Path Tantra and voodoo.
    [Show full text]
  • The Sorceries of Zos 1
    THE SORCERIES OF ZOS 1 The Sorceries of Zos By Austin O. Spare Get any book for free on: www.Abika.com Get any book for free on: www.Abika.com THE SORCERIES OF ZOS 2 The Sorceries of Zos Austin O. Spare taken from Cults of the Shadow by Kenneth Grant Sorcery and witchcraft are the degenerate offspring of occult traditions coeval with those described in the second chapter. The popular conception of witchcraft, shaped by the anti-Christian manifestations that occurred in the Middle Ages is so distorted and so inadequate that to try and interpret the symbols of its mysteries, perverted and debased as they are, without reference to the vastly ancient systems from which they derive is like mistaking the tip of an iceberg for its total mass. It has been suggested by some authorities that the original witches sprang from a race of Mongol origin of which the Lapps are the sole surviving remnants. This may or may not be so, but these 'mongols' were not human. They were degenerate survivals of a pre-human phase of our planet's history generally- though mistakenly- classified as Atlantean. The characteristic that distinguished them from the others of their kind was the ability to project consciousness into animal forms, and the power they possessed of reifying thought-forms. The bestiaries of all the races of the earth are littered with the results of their sorceries. They were non-human entities; that is to say they pre-dated the human life- wave on this planet, and their powers- which would today appear unearthly- derived from extra-spatial dimensions.
    [Show full text]
  • The Order of Phosphorus
    1 The Order of Phosphorus Workbook Grade 0) Void and the Abyss Edited by Frater Akhtya Seker Arimanius – Vox Barathrum Cover Image by Fidus, Luzifer Morgenstern Introduction by Scorpius Nokmet 2 This workbook is meant not to replace any of the fine works of Frater Akhtya Seker Arimanius (Michael Ford), but hopefully enhance those writings, and hopefully make the grade workings a little easier to follow, some will find all the material overwhelming, so this work is meant to be a guide line and not something set in stone. The purpose of the workbook is as follows to be able to have rituals and a check list of suggested items to use during the ritual. So that the initiate does not have to search through all the books when ritual time approaches. For example say you are to do need a ritual from the booklet Sabbatic Sorcery but some of the items for the ritual might be in one of the other books or some other reference material. This workbook will not only give you the ritual and items needed (Checklist), but will also give you page numbers of the booklets that go along with the specific task that you shall perform. That is the main theme of this workbook. This does not mean skipping booklets or any other printed material and is not to be used as a short cut, but to be used as a tool so that you may have a more enjoyable time working with the Void and the Abyss. There will be some who have years of experience that will not even need this workbook or they might enjoy using it as well.
    [Show full text]
  • Austin Osman Spare
    RICHARD BISHOP BOOKSELLER fine, rare, and unusual books AUSTIN OSMAN SPARE from AOS to ZOS Catalogue ONE RICHARD BISHOP BOOKSELLER 1235 SE 26th Avenue, #7 Portland, OR 97214 USA 503.704.2376 [email protected] richardbishopbookseller.com Books may be reserved by e-mail or text, or click on ‘link to buy’ or images to purchase direct. TERMS OF SALE: All items subject to prior sale and are guaranteed as described. Any item may be returned for a full refund within 10 days of receipt. Payment can be made by check, money order, credit cards, or paypal. Shipping costs are extra. Institutions may be billed according to their requirements. Catalogue design by Kate Widdows Cover image from item no. 19 Back cover image from item no. 48 AUSTIN OSMAN SPARE: A Brief Sketch “There must be few people in London interested in art who do not know the name of Austin Osman Spare.” — The Art Forum, February, 1908 ustin Osman Spare (1886-1956) was an accomplished English artist and one of the key figures of 20th century occultism. Spare became the golden boy of London’s art scene after one of his works — a bookplate he designed when he was fourteen — was shown at the Royal Academy in 1904. Spare had his first West End exhibition at the Bruton Gallery in 1907. A newspaper article announcing the Aexhibition stated, “The name of Mr. Austin O. Spare will be remembered as that of a youth, who, two years ago, when he had barely reached the age of seventeen, caused a passing sensation by the extraordinary power of his genius for draughtsmanship, as well as by the weirdness and almost insane mysticism of his pictorial inventions.” Spare had already finished two books featuring his illustrations: Earth Inferno (1905), and A Book of Satyrs (1907).
    [Show full text]
  • CONDENSED C H a O S Phil Hine
    CONDENSED C H A O S Phil Hine version 1.2 1992-1997 This book is dedicated to: The Hydras Teeth; wherever they may fall, whatever may spring up. With thanks to: Charlie Brewster, Dave Lee, Hannibal The Cannibal, Ian Read, Kelly Standish, MC Medusa, Prince Prance, and Frater Remarkable. Stunning Artwork & Graphics by Nathaniel Harris Condensed Chaos was originally published by Chaos International Publicatios as a limited edition of 300 copies. 1992. This version (version 1.2) typeset & converted to Adobe PDF format by Phil Hine. Contains 2 additional appendices. Contents What is Magick? .....................................................5 What is Chaos Magick?..........................................7 Principles of Chaos Magick .................................14 Infinite Diversity, Infinite Combination ...............17 All Hail Discordia! ...............................................23 Discordian Opening Ritual ..................................26 Spiral Pentagrams ................................................28 Sigil Magick..........................................................31 Belief - A Key to Magick.......................................35 Basic Exercises .....................................................41 Conclusions ..........................................................47 Appendices Fracture Lines ......................................................50 Howling ................................................................55 Technical Ecstacy .................................................59 Further Reading
    [Show full text]