MAGICK

[Harconen]

Lucifer’s Vortex (also known as the Western Sun Rite)
By Gnosi Chaotica


Introduction

The basis of this ritual is to create a vortex in which direct communication between Lucifer is possible. There are several other Lucifer’s Vortex rites that are being transcribed and this is the darkest one in terms of setting.

Materials to be used
chalice filled with wine
wand
sound system (can be of any kind)
candle (black, if possible)
mirror
altar

Begin

The setting shall be a dark room (preferably small). Arrange yourself in front of the altar in which you have set a candle in the middle. On the left side is to be the chalice and on the right side is to be the wand. Behind the altar is to be set a mirror in which the candles light can be reflected. Start the music, which should be “Night on bald mountain” followed by white noise. Play it as loud as your circumstances allow you. As a rule, the louder that the music is played, the more your mind can become part of the ritual.

Meditate in front of the candle, close your eyes, and reflect on inner peace and balance. Then, gradually think of your energy growing larger and larger. Visualize it constantly expanding and growing larger. Then think of yourself sucking psychic energy from a black vortex. This is to be from any source possible and whom you suck the energy from does not matter. Now imagine you depositing all of your bad energy into that vortex to be destroyed.

Now open your eyes, reach for the chalice, and repeat the words “I drink from this chalice all the good in the world. I proclaim the destruction of all lie and hypocrisy and I shall rise to the ultimate fate. I proclaim upon this day that I am born anew in the light of the Angel Lucifer in the dawn of all his marvelous stars”. Drink from the chalice and set it down. Take the wand, point it as if touching stars, and proclaim, “The stars of electric reach through my spine and signal a New Aeon of Horus and Lucifer. Long may the Western Sun rise as I proclaim it so. Hail Lucifer in all glory as all power be bequeathed to his followers. Brimstone and onyx is his crown. Light shall be his wand and wine shall be his urine. Worship the sun god, Lucifer, Ra.”

Now place the wand down and stare back into the flame. Visualize all greatness coming into you and forming a vortex. Now repeat this sigil and imagine it in front of you as you visualize it.
B H W E R
G R H R E
J N R E D
N U R W Q
N I R W C

Now recite your wishes and demands as well as grievances. Say all that needs to be said. Then, when you are done, scream, “Done is my wish. Grant my desires as the west sun rises in the vortex and Lucifer wishes me so. Stand not in my way, O’ slave of ignorance. Stay here and grant for I say what I need. So be it done as so be it. Hail Lucifer.”

Awaken in time and feel anew. Liberty is yours for the taking so sayeth the sacred books of Algorath and Aweis. Talerabonio Stratakeath Nopuot Doriou.

After note

This ritual was transcribed from semi-conscious thoughts of the Temple of the North Star. Lucidity is not in question here as lucidity be proclaimeth. The observance of this ritual is to be completed as the Angel Lucifer does rise and fall and rise again.

[Harconen]

Prometheus Hail (also known as the Rite of Prometheus’s Flame)
By Gnosi Chaotica


Introduction

The basis of this ritual is to unleash hidden, arcane, esoteric and occult knowledge. Its aim is to uncover the truth in all things and shed light on the darkness of ignorance. Its aim also is to question all things and to broaden the participant’s horizons into the world of greater knowledge. It involves the destruction of symbols of religious ignorance in an attempt to clear all perceptions to let the true light and divine glory of Lucifer to permeate your soul.

Materials to be used
Seven candles (three white, 3 black and one yellow.)
altar
yellow altar covering
mirror
The Christian Bible and/or any religious texts. (If you were converted from Christianity, or any other religion for that matter, it would be considered especially fitting to use the holy book for that particular religion.)
a copy of the sigil involved
wand
an Athame
large cauldron of water

Setup

You will sit in front of your altar. The altar will be covered by the yellow cover. On the right side of the altar will situate the three white candles. On the left will be the black candles. In the middle will be the yellow candle to represent the knowledge and light of Prometheus, follower of Lucifer. In front of the yellow candle will be the wand, athame and cauldron. Behind the altar will be the mirror and drawn on the mirror will be the sigil, which will be provided. This is ideally performed in a large and airy room with plenty of light.

(Important safety note. The will be the burning of an object in this ritual and this could be dangerous. Caution is to be practiced.)

Begin

Light the candles and bless the performance area. Meditate in front of altar for five minutes. As you grow more and more into a trance, imagine an arc of light streaming through a shining gate and directly into your forehead. Now, imagine this permeating your entire body and your body becoming more and more invigorated. Now, imagine that gate opening and the body of Prometheus emerges. He is white as ivory and his hair and face are made entirely of yellow light. His feet are as black as marble and his hands are the color of the ocean. His right hand has a broken chain that use to bind him and his left hand is parallel to his breast and about a foot away and has red flame emerging from his palm. You come closer and closer to him and as you are about to touch the flame, you awaken.

First, take the athame and carve the pentagram into the air above the candle. Now, take the bible and touch it to the flame of the yellow candle and allow it to burn while intoning “burn, burn you infernal piece of ignorance. The dark gods will imprison my mind and soul no more. I burn this slave making nonsense by the flame of eternal knowledge and wisdom. Freedom sets the slaves free. Hail Prometheus”. When it starts to become a hazard, extinguish it by placing it in the cauldron.

Now take the wand and wave it around the cauldron while chanting “diawatha baradoniait dorianviouyo terazherila berhgoudh erhnoundeo. The sun god Ra and Lucifer dance the eternal dance. The Scarlet **** cries in eternal incline as light is infused into the vortex. Hail Prometheus, eternal unleasher of knowledge and wisdom. Eternalities and stars collide in the eyes of the scarlet as she clutches onto her hedonism. The sage knows that her hedonism is in forbidden knowledge and the baseness only”. Now change your chant to the exclamation “Hail Prometheus, Prometheus Hail. Greatness is your divine grace as the laws prescribe. Knowledge will set you as free as the breaking of your invisible chains will. Freedom is yours for the taking.

Now chant the sigil, which will be written on the mirror.
A E O N V
W Y L N K
E Q Z M V
X E G H Y
L D E A Q

Now stand and touch your breast and intone, “zha noh kho phon set”. Now touch your groin and intone “chon noh kahn pha set”. Now touch your abdomen and intone, “khen gor jahn tho set” and finally touch your forehead and intone, “khana shoran vorhan khav set”.

Now close your eyes and remember when you were about to touch the flame of Prometheus’s flame, except now you will touch the flame and absorb all the knowledge of Prometheus and set yourself free in all ways possible. You are now free as your soul is now yours in all true ways. Sing the song of Gorath-al-Korethia, Alchemionso-Tiradeiona.

Hail Prometheus
Hail Lucifer
Hail Thyself

[Harconen]

On Banishing
By A. B. Haigh


From: ahaigh@unixg.ubc.ca (A.B.Haigh)
Newsgroups: alt.magick
Subject: Shielding techniques for mediation and other reasons
Date: 3 Oct 93 17:27:35 GMT

At first I was going to post a copy of the middle pillar exercise, but on re-reading the material I realized that the specifics of this are truly unnecessary. What is important are the mechanics of the exercise.

Basically what one wants to do is to set up a clear space within one’s mind for the purpose of meditation or ritual work. The manner in which this is done is rather straightforward, one visualizes a sigil in each of the four cardinal directions, charging these sigils with power, and visualizing a wave of energy along each cardinal point outwards to infinity that sweeps everything out of its path.

The sigils used and the symbology associated with them are unimportant. What is important is that they hold meaning for you. Kabbalists can use YHVH, Christians can use Angels, Satanists can use demons, Wiccans can use their god/desses, Hermeticists can use the elements, Enochians can use the Lords of the Watchtowers, It really doesn’t matter what symbolism one uses so long as it is of import to you. Personally I use a very chaotic system that tends to change slightly each time, but it always ‘feels right’ and effects the desired result.

The pattern that one uses is also important, once one finds the sequence that feels right stick to it. I begin with North and work my way around the compass until I sweep through West and return to North for closure. Sometimes I will also hit the Heavens and the Abyss if I really want to close the space I am working in, but that is not necessary.

The important thing is to visualize a wave sweeping out from you that pushes all unwanted influences/imagery out of your sphere of working, effectively clearing a space on the astral and other planes that will allow you to work undistacted.

After you have cleared this space you can also charge your wards with power so that they will oppose any outside force from getting into your work space. I find that this is not necessary, but others might want to set up an elaborate system of wards. Personally, if you feel that the space you have set up is clear enough, that is enough.

So find symbols that hold power for you, use them to clear the cardinal directions, use them to ward those directions if you desire, then do whatever work it is that caused you to clear that space in the first place.

I hope this helps/informs/is found to be of interest.

[Harconen]

Azathoth/Mainframe Rite
By Fireclown


Thee following should be taken as spoken only if relevant to your question! I believe it, because it works for me! Use at will! Alter! Discard!

Thee Transient Azathoth Zone-
Wherein we have Deeds with the B.I.G. (Blind Idiot God) Thing that Lurks in the Heart of Chaos. Azathoth is described as ‘Blind’ It is Eyeless, it Reads and Writes with magnet and laser upon and from thee Whirling Disks fed into, or, in the case of the True Believers, those who could not stand to be apart from It, Built into Its Very Body!!! Great (B.I.G.) Azathoth, yeah, it’s an Idiot God! It’s an Idiot Savant God! You give it the Proper Words of Power, TELNET-FTP-WWW, for example, and it spews forth, well, spew. Like I said, It cannot Understand What It Hath Read, for it is Mighty. It is Many-Bodied and many Tentacled, feeding tubes stretched accross our world in twisted Leys (Leys= leis, Hawwaiian offerings to the aliens, symbolizing the Sacred Noose. Hello! Goodbye!). It has been said somewhere, (INSERT BIBLIOGRAPHICAL INFO HERE) that Azathoth dances to ‘the piping of Idiot Saxaphones’-wow! how did they get a saxaphone into the little box that sings Its Arcane Tune, forcing benediction from That which Lieth Beyond the Beyond to speaketh with me? Ask not that which thou does not care about! Choose , if that is your Will, and be done with it.

The Rite: (note that directions in these Aethyrs shift, and what worked last week may no longer hold true)

Props needed-
Incense only if you hate it. Otherwise, something else you hate. I use onions.
Sigil of Target Mainframe
Sign of your Will to destroy
Computer, connected and with Line open to Target (not really necessary or recommended)

Banish if you’re pervy and into that kind of thing, otherwise, relax, stretch out the body, get loosened up, in prep for getting LOOSE. When you feel centred, relaxed, and slightly sexy, begin relevant Mantra Of Opening the Connection. (all examples are merely that and should be altered according to need or desire)

Vibrate, sonorously:
NICFUNETFI
NICFUNETFI
NICFUNETFI…

continue until mild to severe gnosis is entered at which point, on the Indrawn breath, Indraw AZATHOTH… so now you are running a cycle of

>NICFUNETFI<AZATHOTH>NICFUNETFI<AZATHOTH>NICFUNETFI<etc..

until the edges blur and you move into appropriate level of possesion (you know, massive trembling, glosslalia, vomiting)

Now, you should be experiencing a shifting possession, of the mainframe, and Azathoth. Let this blur into a state of loss of differentiation.

Charge the Sigil of the Target

when charging is a tangible state

Charge Sign of your Will to Destroy

ignite incense, or ingest the Hateful Onion

Focus your disgust and hatred of the Hateful thing into the combined Sigil and Sign. Eat the Material bases, Laugh uproariously, and close the Temple.

Thy will be done.

[Harconen]

Gnostic Pentagram Ritual
By Draconihilis


From: draconihilis[at]antioc[dot]antioch[dot]edu
Subject: Gnostic Pentagram Ritual
Date: 16 Mar 93 17:50:19 EDT

I figured it might be helpful to post a really simple pentagram (banishing) ritual. It’s something that the IOT (Illuminates of Thantateros) came up with. Keep in mind that this is just what I remember of it, and it is by no means word for word. My apologies to those concerned for the plagiarism but I feel that this is an IMPORTANT tool for the beginning magician. It takes maybe five minutes so you have no excuse not to do some form of banishing at the end of your rituals.

Stand and inhale fully. Visualize brilliance emanating from your head just above it as you vibrate the vowel “i” (IEEEE!!) at a high pitch. Inhale again. Visualize the light coming from your throat as you vibrate “e” (EEEHHH!). Repeat procedure for the chest vibrating “a” (AAAHHH!) Repeat the procedure again for the stomach vibrating “o” (OOOHHH!) repeat a final time for the anus vibrating “u” (UUURRR!) at a low pitch. Next vibrate each of the vowels again only this time instead of visualizing a body part, draw a line of a pentagram for each letter. Drawing the line with either a magickal weapon or your mind should be ffective as long as you visualize it fairly strongly. Turn 90 degrees (from facing east to facing south for example) and repeat the procedure outlined in the above paragraph. Repeat this until you’ve done all four directions (you may want to do up and down as well). Once you have all four or six pentagrams drawn and visualized repeat the body part brilliance procedure for each of the five vowels in reverse order (”u”, “o”, “a”, “e”, “i”).

[Harconen]

The Lesser Elvis Banishing Ritual of the Sequined Pentagram
By Jaye


Newsgroups: alt.magick.chaos
From: jwt@nauvax.ucc.nau.edu (Jaye)
Subject: LEBRSP
Date: Tue, 5 Jul 1994 14:47:58 GMT

NOTE: This ritual was dictated to me whilst skrying into the black, shiny part of an Elvis record.

The purpose of this ritual is clear the area of all Elvis-negative influences. This includes all that not patriotic and all that is not of White Trash at heart.

Begin by facing in the direction of Graceland. For easy reference, we shall call this East.
Visualize the infinitely bright light of a Las Vegas spotlight descending upon you.
Draw this Holy Light into your head, intoning: LOVE ME
Point downward, hand over… personal privates… , intoning: TENDER
Point to right shoulder. LOVE ME
Point to left shoulder. TRUE

This is the Holy Cross of Elvis. Conclude by saying: “Uh-huh”.
Facing East (Graceland), draw a bright, blue, sequined pentagram in the air. Be sure to visualize the light reflecting off of the shimmering sequins. Intone: Ehhhh
Repeat step six to the south. Intone: Lllll
To the west, intone: Vihhhhh
To the north, intone: ssssss

Between each of the above steps, you should make part of a circle connecting each pentagram. This circle should be made of the Light of the Holy Las Vegas Spotlight.

Imagine yourself bathed in the Holy Vegas Light. Face Graceland.
Before you, imagine Elvis as a baby, containing his True Elvis Potential. This is the Elvis of Air. Say: ELVIS, thou who were born a King in Lowly Surroundings. Fulfil your potential. Be present with me today.
Behind you, imagine the young man Elvis, on the brink of Stardom. This is the Elvis of Water. Say: ELVIS, thou who art about to realize your Kingliness among men. Fulfil that Potential. Be with me today.
To your right, imagine Elvis in the prime of his career, when he was making movies and the like. He thrusts his pelvis suggestively. This is the Elvis of Fire. Say: ELVIS, thou who art leading us to Light. Be with me today.
To your left, imagine Elvis in his Las Vegas stage. He wears sunglasses and is slightly pudgy. This is the Elvis of Earth. Say: ELVIS, thou who didst die on the pot of an overdose. Be with me today.

Repeat the Holy Cross of Elvis. Thus ends the Ritual.

This ritual should be repeated daily. If you wish, you may use Elvis music in the background to aid your concentration. If you have an altar, it should contain a Microphone Wand, a Microphone-Stand Dagger, an Elvis “45 Disc, and small porcelain toilet (Chalice).

May the Holy Light of Las Vegas Shine within you.

Love is the Law. Love under Rock & Roll.

[Harconen]

Spirit Pistol
By Dakarren Windwolf


This technomagick device is used to combat various ephemeral entities which might plague the user, such as rogue servitors, enemy servitors, or various demons. It fires a burst of invigorated negative energy, which, like fireballs, disrupts a spirit’s energy conglomerate. Of course this weapon is still experimental, and might not work against the higher orders. The intensity of the blast probably works on other factors as well, such as the level of damaging energy the crystal has been charged with, and the voltage of the taser, as well as the intent and accuracy of the wielder.

As before mentioned, the weapon is experimental, and it’s effectiveness has not been examined against different types of energy based entities. Meaning, it has not been used against lots of spirits. The device might also function against humans, but there is no information about this currently. Any further data one might come upon will be wonderful for developing a new model sometime in the near future. If new field data is obtained, please mail to .

Due to the havoc energies contained in the crystal, storage of the device should be in silk, as it is unknown if the crystal seeps the negative energies it’s been charged with.

Construction of a Spirit Pistol

Ingredients:
1 2.5 quartz crystal point, other crystals might be used, but quartz is versatile
1 stun gun, commonly referred to as a ‘taser’

Charge crystal with negative, destructive, ‘havoc’ energies. This can be done by dumping all anger and rage as energy into it, taking blood from injuring someone and rubbing it on the crystal, dipping it in unholy water, casting destructive spells into it, and whatever you can think of. This can be continued for as long as you wish.

Epoxy the crystal point between the contacts of the taser, so the plasma arc can touch it.

Theory:

This weapon works on the theory that the havoc energies contained in the crystal can be empowered with the high voltage energy from the taser, and fired at a spirit target via the wielder’s mental accuracy. In theory, the crystal shouldn’t need more negative energy infusions after attachment to the taser, as the energy should be proper fuel, and the negativity would just be a focus for that energy, a tainted magnifying glass, if you will. However, long term use has not been tested, so that is more data I’d like to receive by anyone willing to create and field test this equipment.

Note:

This crystal focus/taser theory would most likely work as a healing agent, if the crystal were charged with nurturing, healing energy. This device is a project for later, which I might partake on in any time from now to three years.

[Harconen]

DNA Magick
By Fenwick Rysen


Subject: Re: [zee-list] Re: DNA and the four elements?
Date: Thu, 21 Dec 2000 10:53:08 -0600 (CST)
From: Fenwick Rysen < fenwick[at]chaosmatrix[dot]com >
To: zee-list

lo eskis o

On Mon, 11 Dec 2000 soror.mystica@att.net wrote:

<< I have been researching genetic manipulation and I am wondering whether anyone has any ideas as to how they would connect the four elements to the four nucleotides >>

Kick ass! Up until now, I thought I was the only mage with the chemical structure of DNA jotted down in his book of shadows!

I did a lot of work with DNA magick in a short period, and while I didn’t really attribute directly to elements, I did place Adenine and Thymine at opposite ends of the circle, and Guanine and Cytosine at opposite ends of the circle. I ignored directions and elements. I drew their chemical structure in their quarter (sidewalk chalk is a magicians best friend), and stood upon a drawing of Deoxyrybose, that sacred sugar that bonds the four together in the spiral of life.

Instead of drawing up a “cone” or power, I envisioned standing at the center of a double helix stretching to infinity above and below.

I separated my magick into two circles, DNA Magick which had Cytosine as one point, which was mostly information-gathering, introspective work. Then I’d continue a working by replacing the drawing of Cytosine with Uracil, and switch to RNA magick, where I took the information I’d gained, and manifested it into the real world, building up aethyric proteins, as it were. Fun stuff.

My own thoughts after playing with it were that DNA was truly primal, very atavistic magick. I’m not sure you *can* match them to the elements properly. Or at least I couldn’t. But this is chaos. Whatever works! I’d be interested to see whatever system you work our for it. DNA magick is really fun stuff.

Keep us informed!

In Life, Love, and Laughter

–Fenwick Rysen

[Harconen]

The Manifestation of Kali in Universe as an Astrophysical Anomaly
By Persona Navitae 353


There is no light, nor any motion.
There is no mass, nor any sound.
Still, in the lampless heart of the ocean,
Fasten me down and hold me drowned
Within thy womb, within thy thought,
Where there is naught-where there is naught!

From “Kali”, by Aleister Crowley

In the beginning was the KAOS water, the pure creative force of undivided being. Crowley called this “Nuit”, which seems to be the combination of the sky goddess “Nut” with the chaos God “Nu”, or “Nun”. This was the potential for manifestation before the dream of Siva, before the suffering of Sophia that coalesed into the mist of dark reality. This primal force exits in a perpetual state of non-being, always edging toward being. A binary movement sets up from this tension of pre-creation, from a state of collapsed oneness, to a state of open potential. This is the struggle between Siva; the force of perfect order, and Sakti; the force of pure chaos. In Siva is the need to collapse to stable systems, the continual drive for one-ness that uni-fests as the point monad of Kether on the Tree of Life. In Sakti is the need for continual creation, the pure fertile need to populate Universe with the divine sparks of manifested intelligence. From these two forces arises the numinous Androgyne. This force exists at the beginning of physical creation, from its parthenogenic fullness it emanates across the Pleroma of the void, and down the Tree to Malkuth.

This mythos is at the core of the unconscious and of many creation theories. From the bliss of Androgyny comes the suffering of Maya, illusion. This is the illusion of multi- verse. Sophia, the divine mother of the Gnostics, was conceived of as Androgynous but she broke away from her partner and concieved the physical universe as a polarized order. The result was the creation of ignorance, the demiurge Yahweh.

From the primal Nuit is created Babalon, and from her is Isis, but what of Nepthys? She is hidden; present but unseen. Felt but rarely named. In Indian theosophy divine Sakti exists as the primal energy behind the static monad, Siva. She is Nuit in Thelema, and her creation on the mundane level is Kali. In many systems they are considered one, which is rightly so. The job of Kali is to devour the ignorance of static non-creation and re-create Universe with new potential for manifestation. Left to its own, Siva would freeze up Universe in a cage of entropy. This is known to physicists as the “Heat death of Universe”. Heat is not a substance, not an energy. It is a process, “The transference of energy by virtue of a difference in temperature”. When all forms of energy, Sakti/Kali, have been equilibrated then no more growth is possible. Any divine sparks left in such a state would no longer develop, all life would stop.

The Heat Death is only one scenario. It would seem possible that Universe could go on perpetually if there were some way to re-create it. All matter/energy would have to be sucked back in and thrust out in another “Big bang”. This “devouring” is well known to devotees of Kali. In early myths she is known to devour the demons who would upset the balance of space-time. Kali is the Goddess of time, Kala. In time all things die and are re-born. In time all ignorance is replaced by divine Gnosis, if we accomplish nothing else in life we cannot help but learn. Experience is the great teacher. At the end of time there is no manifested existence, just the Satchidananda of bliss-being-consciousness. Kali offers the bliss of Gnosis with one hand which holds the Sangrail, freedom from fear with another raised, with a third she holds the sword that destroys Universe, and with a forth she holds a head to remind us that all situations will change, death is the constant force of new life. She is naked because she has no veils of illusion, and to remind us that the secret of re-creation is in sexual bliss. She is black because she is beyond human comprehension, this also ties in with the Freudian devouring mother, who is in the realm of shadow, we all will be swallowed by Kali in the little death and the greater ones. She dances on the corpse of Siva, who has over extended himself in the attempt for divine Order. However, her dance has aroused him even in death and she stands over his erect **** to accept the seed of new creation.

In the early 1930’s Edwin Hubble concluded that Universe is expanding, and even in the 1920’s evidence existed of such expansion. It has been postulated that if there is not enough mass in Universe then it will eventually suffer the heat death of Siva. If there is enough however, then it is possible that the expansion will slow down due to the drag of continual gravitational forces that all matter possesses, and eventually return to a single point where the explosive forces of the dynamic interplay of matter/energy will cause a new expansion.

One method to determine if Universe has enough matter to halt the expansion is to add up all the luminous matter. Matter exits in particular, stable energy states. If extra energy is added to a system, then the matter present would tend to jump to a higher energy state. Every element has very particular states it prefers and will not reside in any others. This is the rule of the Siva-Order force in Universe. All chaotic energy states will either jump to a higher state, and stay there as long as the extra energy does, or it will ignore the extra force. When there isn’t enough energy to maintain the element in this state, it drops to a specific lower state and sheds the excess energy. When this happens we see it as a burst of light which will be specific to each particular element. By examining the luminous evidence, astrophysicists can determine how much matter is shedding light. According to older theories all matter radiates light, and this could be used to determine how much matter was in Universe. Through these studies, it was found that there is only about 2% of the necessary amount for re- creation.

In 1933, Fritz Zwicky discovered that galaxies were moving much faster than they should according to the accepted theories. Speculating from the amount of matter found through the luminosity present, he found that galaxies should be breaking up. The obvious conclusion is that there is more matter present than can be seen. This substance became known as Dark Matter. Since then numerous experiments have been devised to test this theory. Vera Rubin showed that galaxies rotate as fast at the outer rim, or faster, as they do in the inner. If they are less dense at the outer edges, as the luminosity indicates, then they should move slower. Jeremiah Ostriker and James Peebles showed that without extra matter, galaxies would develop gravitational anomalies that would cause them to collapse into other forms than the spiral we usually see. It seems likely that there is Dark Matter in Universe, and estimates now indicate that it could make up as much as 95% of all physical creation.

What is this Dark Matter? Nobody knows, but there are many theories. Sub-atomic particles, so small they don’t radiate visible energy, Neutrinos, Magnetic Monopoles (one sided magnets), and Gravitinos (bundles of gravity, in the same sense that Photons are bundles of light) are prime candidates. So far neither Magnetic Monopoles, nor Gravitinos have been found.

Arcane knowledge provides some answers assuming we ask the questions. If Isis is “Infinite Stars, Infinite Space”, then what is Nepthys? Being the opposite side of Isis we have to assume she plays a part in Universe. And, if Kali’s re-creation of Universe is possible, then can we see it in the process? The answer to both of these lies in the Dark Matter. In “Mumbo Jumbo” Ishmael Reed referred to “Dark Isis”. I found this very intriquing at the time, and later found the connection in Isis’s dark twin, Nepthys. She is dark (like Kali) because she is hidden, manifested but unseen. In his book, Reed speculated that she became dominant when Isis was shedding lunar blood (sacred to Kali), this is when the unfertile seeds are being discarded. For the aspirant this is a time of great power, and danger. Nepthys is the goddess of the night magicks, the red magick of Vamamarg somtimes refered to as the “left hand path”. Hers is the force of re-creation which is so vital to the growth of the aspirant. IAO, Isis-creator, Apophis (Set, husband of Nepthys)-destroyer, and Osiris-re-creator. In Tantra, Kali is all three. She gives birth to Universe, devours it when all life has expended its energy, and re-creates it from the seeds of the old Universe.

It’s uncertain whether there is enough Dark Matter to cause the collapse of Universe, but clearly if there is a chance, it is in this manifestation of the Dark Goddess. Her body is the body of matter that lies “between” known spaces and stars, her power is felt in the pull of matter itself, “Love is the law, love under will” is the axion of gravity where all particles seek to unite with all others. Her books are written in the night sky, her rites are the rites of ancient humans awed by the power of the Great Sleep, and equally awed by it’s power of re-creation. If Kali/Nepthys manifests at the end of time, it will be as the mouths of numerous black holes, each larger one devouring the smaller, uniting in one undifferientiated monad of space-time, not only matter sucked in but the net of creation on which it resides as well. In the Dark Matter is the new creation.

[Harconen]

Banishings and Openings
By John Tindsley

Banishing and opening/closing rituals form the basis of good magickal practice. Every piece of magickal work should begin with some form of banishing of opening rite, and end with a banishing or a closing ritual.

Banishing and opening rituals are the sequences of gestures, movements, ritual intonations and invocations, and visualisations which are used as a preliminary to any magickal working. A similar sequence is used at the end of a ritual to clear away any psychic residue that is left over.

Before progressing with this discussion, and looking in detail at what banishing and opening rituals do, a distinction must be made between the two types of ritual. That is banishings and openings. A banishing ritual does exactly what its name implies, that is it "banishes" any magickal energies that may be present in the place of working. By contrast an opening ritual is more gentle, it simply makes the operator and his ritual space ready for the performance of magick. Many modern authors fail to draw a distinction between these two types of ritual, but in fact the distinction is important as in certain circumstances one or the other method will be more appropriate. This will become more apparent when we come to look at the specific differences between the two types of rite.

What then are the common elements that both banishing and opening/closing rituals bring to a magickal working? Firstly both types of ritual serve to "centre" the participants in a rite. That is to say they bring them to a calm relaxed state, which is separated from their everyday consciousness. They aren’t worrying about paying the gas bill, or thinking about what happened in the pub last night, rather they are focused upon performing magick.

The second thing that both types of ritual do is that they serve to define "sacred space." They set apart the area of working and consecrate it to the performance of magick. No longer is it the middle of your bedroom, (or your mate's cellar that you've borrowed) rather it is a special place, a temple of the gods, fit for the summoning of any spirit from the most divine angel or deva, to the lowliest and most wretched demon. It is a place beyond time and space where wonders may be worked. In short it is a place of magick.

The third thing that both banishing and opening/closing rituals do is to affirm or acknowledge the different parts of the operators magickal universe. For example the four Aristotelian elements as assigned to the four winds, or the six directions of space, or the seven planets, or whatever. The distinction between banishing and opening/closing rituals becomes most pronounced in how they handle this stage of the proceedings. We will look at this in more depth when we come to discuss the distinctions between the two types of rite. For now we need merely note that these affirmations serve to define the operator's right to command all the powers that exist within his universe.1

The fourth thing that these rituals do is to allow you to assume your "magickal personality." The point of assuming your "magickal personality" is that in everyday consciousness most of us are aware of our limitations. While this is necessary to our normal life, magick requires an extraordinary degree of self confidence and self assuredness. Because of this most magickians construct for themselves what is called a "magickal personality," a personality which is secure and confident in its ability to work magick. This personality is then assumed during ritual, the initial banishing or opening assisting in it’s assumption, while the final banishing or closing helps you to put it off so that it doesn’t spill over into everyday life.

The fifth thing that these rituals do is to allow the operator to make an initial contact with their chosen source of inspiration. The thing, whether within or outside themselves,2 which empowers them to work magick. This generally takes the form of some sort of aspiration to the infinite.

The above then provides a brief synopsis of the common elements that both banishing and opening/closing rituals contain. In practice the design of such rituals can be much more subtle than it appears at first sight. The best of such rites, because they are intended to affect the whole of the operators "magickal universe," embody a complete synopsis of that universe within their structure. For example, when analysed closely, the Golden Dawn’s "Lesser Banishing Ritual of the Pentagram" contains within it’s structure a complete resume of the qabbalistic tree of life.

How then do banishing and opening rituals differ in detail? As has already been said banishing rituals seek to clear an area of "psychic residue", while openings simply open the space for the performance of magick. Both types of ritual provide for the purification of the magickian himself, but the banishing also purifies the rest of his "magickal universe." It does this by firstly explicitly dismissing the powers of each of the parts of that universe in turn, and then by invoking into these places the appropriate pure and balanced forces. For example in the "Lesser Banishing Ritual of the Pentagram", the pentagrams and the vibration of the divine names at the four quarters serve to expel from the circle the powers of the four elements in turn. The invocation of the archangels then summons those forces back in a balanced form. In contrast an opening ritual simply acknowledges the existence of the parts of the magickian's universe, and declares his power and intention to interact with them.

In what circumstances then should you use one or the other type of ritual? In most cases you should use a banishing ritual. If you are working magick in, for example, your bedroom then there is likely to be all sorts of "psychic debris," that is to say past associations and memories, in the space you have chosen for working. Thus in this instance a banishing ritual will clear the area and give you an, as it were, blank slate on which to work. Opening rituals are more useful when you do not wish to disturb the atmosphere of the place in which you are working. If, for example, you have decided to perform your ritual at a sacred site then you probably wish to work with the energies present at that site. This being the case a banishing would be inappropriate as it would disturb those energies. Rather you would use an opening which purified yourself and made the site ready for you to interact with it, and at the end a closing which detached you from any lingering connection with the forces you had used and restored the site to its normal state.

Another way in which you might work at a sacred site is to use a banishing, but one which is centred on cleansing just yourself, rather than the space in which you are working. A good example of this type of ritual can be seen in Phil Hine’s ritual "The Lightning Flash."3 This simple meditation serves to quite effectively prepare the magickian to do magickal work, but does not seek to manipulate the energies present in his surroundings. Other meditative methods can also be used as banishings. For example a useful banishing can be constructed from the Buddhist practice known as Mahasattipatana. In this meditation you progressively separate your consciousness from your physical sensations, your emotions, your thoughts, and even your tendency to perceive those thoughts. This obviously requires quite a high degree of skill in meditation, but with some work it could provide the basis for a formal banishing ritual.4 Ritual gestures and words at each stage reinforcing the progress of the meditation.

There is also a more specific type of banishing ritual that needs to be dealt with. These are rituals that are used to banish particular forces. While a general purpose banishing, such as those described above, clears the whole of the operator's universe, this type is used to dismiss forces that have been specifically summoned in a ritual. An example of this type of ritual would be the Golden Dawn's various banishing hexagrams. The thing of importance to note here is that every force invoked in a ceremony should be formally dismissed before the final banishing or closing ritual is performed.

Before you begin practising banishing or opening rituals, you probably wish to know how you can tell if they have worked properly. In the case of banishing rituals success is characterised by what Aleister Crowley termed "A feeling of cleanliness." That is to say the atmosphere of the place where you are working should feel psychically neutral, possibly even to the extent of it feeling slightly "dead." With an opening ritual your place of working should have a "ready" feel about it. It should feel harmonious, but prepared for change. At the conclusion of both types of ritual you yourself should feel relaxed, confident, and slightly exalted. The best phrase to express this is probably a feeling of calm, self assuredness.

It is important to notice that success in banishing or opening rituals will not come all at once. They require regular practice, both so that you come to recognise them as a signal to your mind to adopt a state appropriate for working magick, and so that you become fluid in their performance. A lot of writers advise that you perform a banishing ritual5 in the morning upon waking and at night before going to sleep. This is the ideal and it is not always possible for people to do this, however you should endeavour to practice some chosen banishing regularly as often as you can.

The above provides a brief synopsis of banishing and opening/closing rituals. Far more could be said upon the subject, and an analysis of the structures of various such rites from different traditions can be instructive. There is no single correct way to perform banishing or opening rituals. What matters is not the symbol system employed, but the end result of the ritual. What is also important is that each piece of magickal work should be preceded and terminated by some such ritual.

Notes
1: That is the totality of his perceptions and experiences to date.
2: Or both!
3: This meditation can be found in Hine's Condensed Chaos. This essay was originally written as a handout for a study group with example banishings, including Hine's "Lightning Flash" and the LBRP - T.S.
4: Evidence seems to suggest that Crowley's "Star Ruby" was based upon considerations such as these.
5: It is far more important to have a well practised banishing than it is to have a well practised opening. A banishing can be used to still your mind and clear away "negative feelings" when you are upset or disturbed, as well as being used as a prelude to formal ritual.

© John Tindsley; used with permission. HTML coding by Frater T.S. for Sunwheel Oasis.

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HOW TO MAKE INCENSE
By John Tindsley

This article is designed to show you how to make incense for use in ritual. This means loose incense. I am not going to talk about making stick or cone incense as this is awkward and the need for a large quantity of wood base in the product prevents the manufacture of most of the more interesting blends.
Why use incense?
There are a number of reasons why you may wish to use incense in ritual. A few of these are outlined below:
Different scents may be used to affect the mood of participants in a ritual
Swirling clouds of smoke have a consciousness altering effect upon a ritualist. For example in evocations to visible appearance.
You may wish to use incense as an offering to Gods or Spirits.
The incense may act as sigil to encode your desire.
You may be charging the scent to use the same incense later as a magickal link.

The above list is by no means exhaustive.
What do I put in my incense?

The major components included in loose incense can be broken into five categories as follows:
Resins and Gums (Gums are water soluble)
Woods and Hard plant materials
Soft plant materials (e.g. Leaves)
Resinoids
Essential Oils<

The balance of these components in incenses can vary, however the majority of loose incense is about 70% resins and gums and 30% plant material, with oils and resinoids added to moisten the mixture.

Liquid components act as fluxes to let the scents of the solids blend over time. Liquids evaporate first when burnt. The degree to which solids are ground determines the extent to which each scent enters the flux. Scents may change in the flux due to only some of the odiferous compounds in a solid being soluble in the flux.
Reasons for using particular components (prioritised).
Scent Attribution
Talismanic Attribution
Other Attribution (e.g. Colour)

The preliminary list of components that you may wish to use in a particular incense can be derived from a table of correspondences. These give useful hints on what resins and plants may be appropriate. Remember though that some of the published tables are based on the medicinal and folkloric attributions of the herbs and resins, and not on their scent value.

It is to be noted that there are various levels at which correspondences can operate. It is worth understanding these as they can affect the way in which your incense works. I have listed what I consider to be the three primary levels on which I think correspondences work below:
Physiological. e.g. Frankincense when burnt acts to deepen breathing.
Cultural. e.g. Musk and Rose are associated in our culture with sex.
Personal. e.g. Any scent associated with a traumatic experience.

Some general rules to follow with regards to incense.
Keep a recipe book, and note in it the quantities of ingredients as you add them to an incense.
Be aware that the more finely you grind components in an incense, the faster they will burn.
Note that powdered resins may swamp and extinguish charcoal if you use too much of them.
Don’t use a ritual incense for general scenting around the house. Each time you use a particular incense, that scent builds up associations for you. If you want a scent to perfume your room, design one specifically for that purpose.
Making an Incense for a particular purpose.
Sort out, using your accumulated notes, what components are most likely to be useful for the kind of incense you wish to make.
Try to remember how you felt when experiencing a sensation associated with the purpose for which you want the incense. e.g. For a love incense, try to remember how you felt when deliriously in love.
Smell each component and compare how it makes you feel to your memory. If it fits, put it to one side, otherwise discard it.
Work out a balance of the selected components, bearing in mind, general resin/plant balance, the strength of the individual scents, and which components most correspond to the required sensation.
Adjust the balance to include any talismanic components, remember that they may have their own scent.
Blend up the incense, test some of it comparing it to your memory, if needed go back to step 4) and adjust the mixture.
About one month later test the incense again in the same way, the scent may have changed, if needed make a new batch while adjusting the mixture.

© John Tindsley; used with permission. HTML coding by Frater T.S. for Sunwheel Oasis. A very small amount of editing has been done; this article was originally written as a handout for a workshop.

[Harconen]

By John Tindsley
Sole the spark burns bright,
The sight!  The sight!
Mark the symbol yon,
Babalon!  Babalon!
Shining the lodestar of every man,
Fixing the course in the night of Pan,
Burned on thy brow for all to see,
Signed with the sigil of mystery,
Mother of harlots, proud and strong,
Figure of flame for which all men long,
Perched in your place on the back of the Beast,
Imbibing your goblet's funereal feast.
Staying your seat, with your thighs twined taut,
Round the neck, as to choke out the life you sought.
It is caught!  It is caught!
No-man can sate thy most mighty lust,
Yet attempt in the end every mortal must,
To expend in thy NOX is their promised fate,
With all Kings of the Earth you shall fornicate.
This weal, you reveal, by the seal of seven,
Standing astride the black arch of heaven.
Limbs flung wide, and arms flung high,
Drown my thoughts with ecstatic cry,
Drain my blood in thy scarlet cup,
Its pounding life, thy lips to suck,
Wrap my throat with your tangled locks,
Fiat Nox!  Fiat Nox!
Open thy gate, that none may pass,
Swallow the life for thy nuptial Mass,
Gorge thyself on the pulse of the saints,
Crimson the sign that the liquor paints,
On the mouth that devours all the light that's gone,
Now expired in thy womb, Babalon, Babalon.
For who seeks to spend in thy golden grail,
In a fever of rut at his flesh doth flail,
And he bends his might,
Till the eye's sole sight,
Is the quenchless lust of the infinite,
Till the brain be dumb,
And the limbs be numb,
Till the heart not beat,
Birds the flesh do eat,
And hot sun the bone,
Makes as white as stone,
Till the name they bore,
Shall be named no more,
For the life be gone,
In thy cup, Babalon!
Babalon!  Babalon!  Fiat Nox!  Babalon!
Thou art infinite loves, and each love is The One,
Thou hast shown thyself in the coals of flame,
In the dappled white of the marbled dame,
By the sound of the roar of the torrent's pace,
By the silence still of the desert's space,
On the lips of him, with your vision set,
Your kisses abide, he shall never forget,
By the breath of your kisses the blood you ferment,
To the wine of the Sabbath, the Sacrament,
This draught you prepare for your father's age,
While the worlds dissolve and the Aeons rage,
From time before time, to time known to none,
Thy adulteries shine, Babalon! Babalon!
By the liquor you brew, by the oath you swore,
On your holy kteis as the scarlet ****,
By the droppings of dew as you dance in the night,
By your golden cup and its ruby light,
Be with us now, vast and mighty one,
In the power of thy name, Babalon!
Babalon!  Babalon!  Babalon!

(c) J.D. Tindsley 2001; used with permission.
HTML coding by Frater T.S. for Nu Isis Working Group, OTO

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THE LESSER BANISHING RITUAL OF THE HEPTAGRAM
Adapted from an ancient Graeco-Egyptian work on magic
By Frater T.S.
1.

Stand facing East. Vibrate the seven vowels in order ËEIAOUÖ in the seven energy-centres in turn, descending, thus:
Ë (as in air) at the crown of the head
E (as in bet) just about the top of the nose
I (as in teeth) in the throat
A (as in far) in the heart
O (as in hot) in the solar plexus
U (as in roof) just below the navel
Ö (as in rope) at the base of the spine

By doing so, establish the Middle Pillar.
2.
Stretch out both arms to your left and vibrate either A or A EE ËËË IIII OOOOO UUUUUU ÖÖÖÖÖÖÖ, in either case over the course of a full exhalation; formulate the vibration as a wall of force heading outwards in the direction faced to the limits of your working area.
Turn to the left, face north, extend your right fist forward and vibrate E or E ËË III OOOO UUUUU ÖÖÖÖÖÖ AAAAAAAA in a similar manner.
Turn to the left, face west, extend both hands in front of you, and vibrate Ë or Ë II OOO UUUU ÖÖÖÖÖ AAAAAAA EEEEEEE in a similar manner.
Turn to the left, face south, place both hands flat on your stomach, and vibrate I or I OO UUU ÖÖÖÖ AAAAA EEEEEE ËËËËËËË in a similar manner.
Turn to the left and face east again, bend down, touching the ends of your toes, and vibrate O or O UU ÖÖÖ AAAA EEEEE ËËËËËË IIIIIII formulating the vibration as a wall of force expanding below you.
Look up, placing both hands on your head, and vibrate U or U ÖÖ AAA EEEE ËËËËË IIIIII OOOOOOO, formulating the vibration as a wall of force expanding above you.
Look straight ahead, placing your right hand on your heart, and vibrate Ö or Ö AA EEE ËËËË IIIII OOOOOO UUUUUUU. Here formulate the vibration as a rotating ring of force centred on your heart, which spins to fill in the sphere whose limits were defined by the previous six vibrations.
3.
Stand looking straight ahead, both arms extended out to the sides about 45° below horizontal, hands open, palms forward, and vibrate Ë Ö.
Turn to face north and, in a similar position, vibrate CHÖ CHOUCH.
Turn to face west and vibrate NOUN NAUNI.
Turn to face south and vibrate AMOUN AMAUNI
4.

Turn back to the East, and say:
I call on you,
Eternal and unbegotten One,
Sustainer of all creation,
One beyond understanding,
Ruler of the pole,
Thou whose true name is unknown even to the gods,
Thou whose masks are the lynx, the eagle, the snake, the phoenix,
Thou who art life, power and necessity.

Then vibrate
AIÖ IÖU IAÖ ËIÖ AA OUI AAAA E IU IÖ ÖË IAÖ
AI AÖË OUEÖ AIEË IOUE UEIA EIÖ ËII UU EE ËË ÖAOË.
5.

Conclude by repeating the vibration of the seven vowels in the Middle Pillar.

Notes on the above.

This is fairly freely adapted from PGM XIII. 823-885, part of a Græco-Egpytian magical work known as the "Tenth Hidden Book of Moses"; while the papyrus on which this is preserved is dated to the fourth century of the Christian era, internal evidence strongly suggests it to be a compilation of considerably older texts.

The seven-vowel Middle Pillar rigmarole at the beginning is an interpolation by myself based on some work with this formula originally done as a seperate project; the allocation of the vowels to the seven principal Chakras is simply what I find works best. Your mileage may vary.

The signs attributed to the seven "directions" are as given in the original text. I have left them deliberately imprecise to allow for elaboration by the individual user. One minor alteration has been made to the allocation of the vowels; originally 'U' was to be said "looking into the air" followed by 'Ö' "looking into the sky"; the order here treats the seventh and final 'direction' as a rotary motion which seals the other six.

The pairs of names recited to the quarters in point 3 are cited as the "eight guards" in PGM XIII. 790; they are almost certainly corruptions of the names of the Hermepolitan Ogdoad, the primal company of Egyptian gods in four pairs, male and female; they represent respectively "expansiveness", "darkness", "abyss (of water)" and "the hidden."

The invocation in the fourth point is freely adapted from lines 841-848 and 880-884 of the papyrus.

This redaction of the ritual is (c) K.M.C. Park; copies may be made for personal research and non-profit performance purposes provided credit is given. It is adapted and paraphrased from Morton Smith's translation of the papyrus in The Greek Magical Papyri in Translation, edited by H.D. Betz (Chicago: University of Chicago Press 1986, 1992).

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http://books.google.com/books?id=5nmAt7xWnwsC&pg=PA190&lpg=PA190&dq=lbrp+ritual&source=bl&ots=BbtFME7TY5&sig=jDGzpMpersS6_mZNHboN_CeEwwU&hl=en&ei=J7NCSr3pGpjumgOQycCoAw&sa=X&oi=book_result&ct=result&resnum=2

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http://books.google.com/books?id=xkUxEaO1J2MC&pg=PA114&lpg=PA114&dq=lbrp+ritual&source=bl&ots=_cq-OEgG7X&sig=5waH_qv06jxXTH8r19C4K0oewV8&hl=en&ei=f7RCStixLpeYmwOkv5WnAw&sa=X&oi=book_result&ct=result&resnum=10