martes, 14 de octubre de 2008

HALO MANASH (Interview)

Halo Manash is an entity drawing its life-force from beyond all limitations. It is a means through which we communicate, a vehicle for bridging the worlds of being and non-being, for journeying to the depths and heights. It is a call – a symbol ever-present and thus not bound by limits of time and space.
Halo Manash signifies both the one and the many at the same time: the abstract and the concrete, the hidden and the revealed... the ever-flowing; evolution, expansion, the cyclic yet progressive continuity.
It is the aim of the personnel involved in Halo Manash to seek, explore, experience, study and decipher reflections of the ever-shifting shapes and spaces of different worlds. These findings are presented through elemental music and various visual elements. In Halo Manash, sound and movement come together as rhythmical language that facilitates communion with elemental beings. Our aim is to revitalise one of the oldest subconscious forms of communication, to open the gates with the aid of music and widen the horizon of perception concerning states of otherness lying in-between the cardinal directions. so,here is an in deep interview we have with HALO MANASH just one month,just feel the atavistic emantions of this spiritual dark force under the primal eerie atmospheres

Your most recent emanation is “Language of Red Goats”, right. So, which kind of oneiric visions and primal atavisms where explored for such development, knowing the ritualistic methods handled by you though each sonic mantras (your releases)?
Halo Manash emanations and works are often rooted in primal experience and knowledge arising from such experience, and so it is also with Language of Red Goats. The album is the result of our working systematically in specific spheres of experience and spirit(s) for a year-long period, guided by dream herbs, oneiric visions and the light of lunar tides. The album is akin to a primitive field recording in the realm of oneirotropic exploration, and aims to be a cartography of cavernous elemental realms and regions, sources and springs that run deep and thick with the fluids of life, death and dream.
The work was ”seeded” at the Thin Veils and has been gathered at Harvest time, and is offered to the seeker as a libation and guide into the ever-liminal, shrouded spaces, for dream-vigils and awakenings.
Language of Red Goats is a complete work in itself, but can also be viewed as the first facet of a tripartite series of works that are part of one holistic creation – three faces of the same being.

So, in connection with last question. Explain us about the “Nether-Nectar”, such oneiric elixirs ritually gathered and seeded around the autumn equinox? Could we say, “Nether-Nectar” is a kind of materialization in this causal plane of your hidden astral emanations explored through the use of certain sacred plants, gnosis, and fluids?
The Nether Nectar is a special, potent and very real plant-based oneiric elixir, ritually gathered, prepared and blessed by us, that was a central guide to us during the creation of the work. We were involved in a year-long systematic exploration of this plant and its associated realms, through which we slowly developed a relationship with it, and it has thusly grown to be a deep and powerful ally. To our knowledge, such extensive creative work involving this specific plant has not been done before. The luminous presence and being of the plant manifested itself to us several times, and guided the process into fruition. It still remains as an ever-present guide to us, even if now in more subtle ways.
A special limited edition of Language of Red Goats came with a bottle of the Nether Nectar, but this edition is not for sale - only given and offered as a libation of Light to those friends and fellow travelers genuinely seeking and sharing our exploration of the realms of the Red Goats.

Also, you mention that the work at “Language of Red Goats” is a kind of connection with lunar forces, magickally talking. So such, works also includes the energy through the sexual polarity, endocrine system and chakras?
Seen in the context of the forthcoming trilogy of works, Language of Red Goats could be seen as feminine or ”maternal” as relating to its polarity, whereas the newly-released Am Kha Astrie could be seen as masculine, and the forthcoming Polar Stones and Sky Awakenings could be seen as both - the consummation of masculine and feminine polarities.

The trilogy can be viewed as a treelogy – a tripartite work in the shape of a tree, with roots, trunk and branches. Language of Red Goats, the first part, is the celestial Lunar seed in the dark earthly womb that gives form to the roots, that spread themselves in the underworlds, in the nether realms, in cavernous depths populated by serpentine, slithering creatures. Am Kha Astrie, the second part, is the trunk, the pillar that breaks the surfaces and planes, crossing the thresholds, and emerges upward, rising into this world – it is horns spiraling skywards, antlers ascending into light. Polar Stones and Sky Awakenings is the branches of the tree, reaching toward Sol and Stars and beyond; it is the leaves and fruit of those branches and their skybound nectar; the cradle of winged, feathered creatures - it is the Crown at the peak, the Heavenly Fire.

The works are also tree-faced in many other aspects: in relation to the seasons, states of being, and various other correspondences. Language of Red Goats is winter and dream and awakening. Am Kha Astrie is spring and birth and coming-into-being. Polar Stones and Sky Awakenings is summer, life, death, re-birth, passing-into-new-being. Only three seasons because in more archaic times our ancestors only knew of the three mentioned seasons (winter, spring, summer), autumn being a later addition. The work as a whole represents an eternal spiral, a total transformative cycle of Life, Death and Re-birth.
And, of course these aspects and correspondences are not stale and solid, but rather fluxuating and approximate, and yet possibly the dominate characteristics of these various sides of the work, offered here to help the seeker navigate through the terrains, if he/she so chooses. These are also of course only the plainly and openly perceivable aspects of the work – other aspects are there for the seeker to discover for themselves, who is of course encouraged to come to his own conclusions, which might be equally valid. The pilgrimage that is undertaken with sincerity and pure intent will provide all the answers one needs.

Halo Manash prefers not to use or present things in the context of any pre-existing spiritual systems, maps, symbols or traditions. Although we of course are aware of many such diverse paths and approaches, and might even have had or have relations with such. Rather – Halo Manash is its own symbol(s), guide and being; rooted in the eternal, and simultaneously a novel and unique expression of what we see as a primal Ur-spirit(s).

“The Red Goats” are own emanations from your subconscious, which you develops to awaken and exalt consciousness when working magically at oneiric explorations?
We prefer not to extensively analyze and dissect our own work in public, as that tends to trivialize and limit its perception. When a work is completed, manifested and realized, it is offered to the external world, and we let go of it. Sometimes people put too much effort in trying to decipher what we personally intend with some aspect of the work, rather than experiencing and appreciating it on a personal level directly for themselves. Individuals are encouraged to approach it within their own context, and trust their own experiences and intuition. Also, emphasis and value should be put in the effort of seeking something in itself; to travel beyond ones own limits, to journey to the crossroads of other worlds, to intentionally make a sacred passage, internally and/or externally – that is pilgrimage.

Do you think when artificial ego limits dies, the objective universe is dissoluted, and from the light of such illumination or reality, gnosis is the only thing which reminds? And how important is gnosis for you according to your magickal paradigms, and how it affects the concrete evolution of HALO MANASH as a living entity?
Halo Manash is beyond magic(k)al paradigms. But to use your terminology and context, ”gnosis” is of course of central importance; the gnosis kardias, knowledge of the heart. Or one might use the Sanskrit word and Hindu concept of Darśana to describe somewhat similar experiences and understanding, glimpses of the divine. However, in the light and dawning of such experiences, revelations and insight, all such words, categories and ”isms” (even Gnosticism itself) must fall by the wayside and vanish.

In my opinion HALO MANASH is like a black hole, a way to connect yourself through the worlds of being, not being, solution and dissolution, death and rebirth…so, could we say HALO MANASH is all into one, and one into all at the same time?
All interpretations of Halo Manash are valid in as far as they serve the individuals making the interpretations. In the light of this, yours is a valid one. Indeed, Halo Manash can be approached using pre-existing paradigms in the context of some tradition or system, or without any knowledge or interest in such things, but ultimately it is all there for the seeker to discover, in their own way.

…and referring the last, do you agree when saying HALO MANASH breaks the limits of time and space, and converges in a personal reality offered to others (listeners) to carve deep within subconscious to find their own HALO MANASH?
Maybe we could agree on this to a certain extent, if we understand this in the same way.
Halo Manash is a living, breathing, dreaming Being that transforms and evolves constantly and has a life-force, will and consciousness of its own. It lives inside and outside of us, but we do not claim to ”own” or ”posses” it, and by its nature it is expansive and ever-seeking. We are the Dream that it dreams, the shadow and illumination it casts, the masks that it wears, behind which lies the very face of Halo Manash itself. That face is a manifestation from and reflection of what we call the infinite, formless, and absolute. To gaze into the eye(s) of that face is to see beyond all dualities and divisions (e.g. self and other etc.), to stare into the highest peaks and deepest depths of what is, and beyond; that is, in essence, to experience Halo Manash.

One of the principal basis of your work at HALO MANASH is to experiment, explore, and connect with other levels of existence and to get in contact with some elemental entities for your own personal development?
That is partially one aspect of it, although ”personal development” is a relative and rather limited term and concept, and not necessarily always an aim for us, although it often can be a natural by-product of our experiences and journeys.
As we have stated elsewhere, Halo Manash is a pilgrimage to the borderlands of dreams, pure consciousness, and primal being – and possibly beyond.

Pilgrimage is undertaken internally and externally with clear focus, sincerity and intentional purity, often without heavy prior attachments to specific aims or results of such workings. Often these workings are undertaken with a sense of empathic ”merging” and ecstatic abandon with the presences, spirit(s) or elements in question, and not via a drawing of limits and arrogant ”commanding” of such for personal power and profit, which seems to unfortunately be a popular approach, at least in many Western traditions. The personae involved in Halo Manash are a canvas through and upon which these pilgrimages are imprinted and carved.

The ”results”, meaning the causal manifestations of pilgrimage, i.e. ”what we bring back”, can sometimes be very harrowing experiences, as ”personal development” of this kind (call it ”spiritual” for lack of a better word) can be very painful and terrifying. Yet it is carved deep in our nature to pursue this path, and to trust it will take us where we are destined.

It is often transformation, pure and simple – a snake shedding its skin, or a butterfly emerging from a caterpillar – it is natural and imperative on the same level for us. One, who is not actively engaged in a process of birth, is passively engaged in a process of death. It is accepting impermanence, disappearance and transformation. It is the confrontation with death and ultimately transcendence of some aspect of being. And yet it is the eternal spiral of creation-destruction and passing-into-new-being, with all the terror, ecstasy and divine awe that it implies that is at the root of all.

Symbolic sorcery, sigils are elements you use to exalt subconscious, so such visual elements are focused to bring HALO MANASH from audial to another reality, in this case a visual spectrum, containing the same essence of such elemental forces evoked in your rituals?
To use your terminology: if our releases are our mantras, then Halo Manash itself is the yantra, and all that it entails.

In other words, Halo Manash is a sacred vehicle and instrument in itself; how it manifests externally (or if it manifests externally at all, i.e. it remains an internal manifestation only) can vary greatly, although so far the manifestations or materializations have been mostly of an aural nature. But, to limit it to that one form would be an error. Halo Manash has manifested or materialized equally as film, photograph, drawing, ritual, journey, performance, sigil, talisman, cultural artifact etc., and can indeed take any shape, or remain formless. In Halo Manash there is no separation, no distinction – all is a part of the same whole.

We hesitate to start lecturing anyone on sigils, sorcery, magic(k) or similar areas, as most people these days are so knowledgeable on these matters already, and proper information is widely accessible to those who seek it. In fact, it seems sometimes that information and dialogue on and around these subjects has been so thoroughly and perhaps overly saturated, that those things in themselves have taken central place - theory over practice, abstraction over realization, outer appearance over inner essence. Magic(k) has become a subculture, a ”scene” and a hobby, with its own outer normative trappings and clichés, and much of it is performed for obviously dubious or juvenile purposes; and at the same time it is an evolutionary tool and creative catalyst for some. If magic(k) is to be of any lasting value, it should be integrated and harnessed into an organic and refining part of being, that is manifested in ”non-magical” ways also, rather than being an endless source of theoretical discussion and empty posturing. In the end, perhaps there should simply be less words, less talk.

Self made instruments, bells, metal bowls, gongs are used to increase the excitatory gnosis created by HALO MANASH. So, could you tell us about the process when creating a determinate concept release?
We communicate and deliver our aural invocations often not using words, but rather the primal Ur-language and cosmic vibrations of sound itself. In this process the instruments have central significance, as they are what via us manifests and produces the sounds. We use a variety of acoustic instruments that often fall into the category of traditional, archaic, ritual, or self-made (and more seldom but occasionally modern as well). We put emphasis on the organic and animate materials of the instruments that often has a definite aura of their own related to the material that holds their spirit.

Relating to the intentions and framework of the workings or sessions, the instruments of the proper material, quality, sound and spirit are chosen, acquired and/or constructed. This in itself is a part of the process of creation: the instruments and their materials have to correspond and resonate with the intentions properly – hence, this is rarely done at random. In the case of some instruments that have an exceptionally powerful presence and spirit, a life of their own, it is necessary to communicate with the instrument itself, and ”ask” if it should be used – they should be treated with proper respect.

To give an example of instruments we have used in the past, we can mention drums and trumpets made out of human and animal skulls and bones, percussive instruments made out of antlers and jawbones, wind instruments made out of horns and shells, other instruments out of wood, clay, stone, feathers and so forth. We also use a multitude of metal-percussions and drums, such as a wide array of gongs, cymbals, bells, rattles, and the like, as well as self-made and self-titled ”thunder-sheets” and ”solar discs”, and so forth. This process and relationship is also a continually evolving one, as we are constantly seeking and finding, as well as conceptualizing and creating new instruments: we find the approach, process and end result inspiring.
Often, if not always, the specific surroundings, space and the elemental sounds themselves present at the location of the working during the sessions also become an essential source of sound. This may be utterly subtle in the actual recording, or very forthright and present, but still it is very much an integral part of the totality of sound. Sometimes sounds also emerge that have no definite identifiable source at all – whereupon we accept and welcome these sounds as presences when they come.
Our acoustic instruments that often are of a primal and archaic nature and materials, are usually harnessed via an electronic medium and modern technology. This represents a merging of the archaic and primal with the technological, wherein both of these ends of the spectrum (if they can be considered that) are amplified by each other, creating a complementary and timeless synthesis.

The aural manifestations of Halo Manash are language without words. Listen and learn.

“SYoMA” was built through the idea of transformation and auto cannibalism. So, from a point of view, could we say one of the main purposes of this album is to destroy patterns of your own personality through aural manifestations?

We have never felt it overly essential to explain, for fellow explorers, too much or too precisely about our own encounters, rather the opposite; we do not want excessively interfere or restrict the utilization of individuals own instincts.

The manifestations of the album can be considered as sort of guides, a kind of a direction sigils, or as a language of entities, which usher you towards the ultimate realization of the transpersonal entity, SYoMA. The destruction of the fixed patterns of personality simply allows one to overcome the limitations of for e.g. binding cultural factors and thus the fundamental aspects of SYoMA, or any other of our work, will be revealed to the perceiver in a form of pure atavistic knowledge.

The elemental impulse, which catalyzed the whole creative process of SYoMA, started to grow gradually during and after the completion of Par-Antra I: VIR album.. Initially, the prime mover revealed only glimpses of its external appearance and as time went by, it was through careful personal exploration that the all-encompassing communication reached the level of concrete actualization. However, one can never stress enough the obvious fact that the primeval force still continues to interact with a seeker whenever the particular current run strong.

To experience the true power of SYoMA, one will have to travel through many layers of hidden regions and inner states to find the pure source – and it is from this source where one will be able to find and also learn the true essence of what eventually got the name SYoMA. A comprehensive, long-lasting communication with the entities is the only way to reach the pure knowledge.

We sincerely believe that the fundamental aspects of our works can be achieved by everyone through a metaphysical pilgrimage. The album will surely reveal the passage for the humble explorer, which will lead one towards Sacral Meeting. There are many signs that direct you on your way and at last you will have to let Halo Manash be your vehicle; You have the all the needed tools, the rest is up to you.

Lastly as a small curiosity the name of the album, translates roughly to Devour Your Own Soma.

Could you tell us a deep more about r.A.S.H.n.k.a-RA LP + DVD. And its magickal environmental phenomena and visions at specific locations? And do you think with this release HALO MANASH has taken just a part of the dynamism and magickal exploration you experienced? Or is there still so much to work in future as well?
r.A.S.H.n.k.a-RA was birthed during Summer of 2005, in two distinct and intense sessions resulting in the two-fold nature of the work, lasting for 4 days and nights (In 4 Elements – DVD film) and 2 days and nights (In PolarDual – LP album) consecutively. The location and elemental landscape was a central presence and aspect of the work, and it is a lakeside and wilderness in northern Finland. The work was thereafter refined, shaped, reflected upon and realized after a Halo Manash pilgrimage to India and Nepal, in the shades, snow and silence of Winter 2006.

r.A.S.H.n.k.a-RA, beyond even its creative manifestation, is first and foremost a very real and primal experience, a ritual shedding of surfaces and an elemental merging and revelation, a rite-of-passage that left deep chasms and signs on our skin and spirit, ever-present although subtle.

The film In 4 Elements forms the first part of r.A.S.H.n.k.a-RA, the other being the album In PolarDual. The parts or works, creations/destructions, are interrelated and intertwined, two sides of the same whole, the same cycle. Both are the result of very intense work and experience, where the personae of Halo Manash itself became the canvas of birth and death. The work can be viewed as a template for transformative, transcendent experience.

The film In 4 Elements is the first released foray of Halo Manash into cinematic realms. It is very real in the sense of that nothing in the film is acted or performed according to specific plans, all actions, movements, and sounds recorded and captured during the sacred moments arising of themselves. What one can experience in the film is a condensation of an immense energy and intense experience, meant and constructed very deliberately and carefully to be as an invocation in itself, where everything is meant to convey or symbolize something, including the shifting colours and other aspects of cinematic language and expression.

The same applies to the album-part of r.A.S.H.n.k.a-RA, In PolarDual, that can be viewed as the dark twin of In 4 Elements. Created in the growing shadows of ending summer, and contrasting strongly to the somewhat serene ambience of In 4 Elements, it is a tearing down, a dive into the depths, where the sessions themselves took on a fierce and frenzied, somewhat possessed character.
The days of the sessions were spent preparing, building and setting up for the nights, when the ritual sessions themselves took place. But, in the end, those days and nights in themselves were part of the ritual as a whole, as we constantly experienced and sensed a presence(s), and were guided by signs, and blessed by auspicious weather, without which the work could not have been realized.

Well, almost everything about HALO MANASH was revealed here. So, keep on floating through primal atavisms and a pleasure to share this interesting conversation with you. Your last words are more than appreciated here.
Let us just say that we scratched the surface here; the most obvious output of the group, meaning the lingual, musical and visual dimensions should not be considered greater than just mere vapour arising from the seething cauldron holding the very Elixir of the Being itself. In closing, thank you for the interview.

Halo Manash concerts in Europe and Russia are being planned and organized at present time. In addition to concerts, there are also plans for more multi-dimensional and multi-medial Halo Manash events, such as exhibitions of photographs and screenings of films. Besides regular concerts, Halo Manash also has an interest to engage in smaller acoustic performances at various sacred sites, ancient or modern, or special locations of different kinds. All interested organizers, clubs, galleries and individuals are urged to contact us.

Halo Manash website:

domingo, 5 de octubre de 2008


‘Orryelle’ is a variant spelling of ‘oriel’: a projecting bay window corbelled or cantilevered out from a wall. ‘Defenestrate’ means to throw a person or a thing out of a window. According to Webster’s dictionary, ‘Bascule’ is an apparatus or structure (as a drawbridge) in which one end is counterbalanced by the other on the principle of the see-saw, or by weights.
If you add to these words a probable origin of the ‘Orryelle’ spelling, the name becomes a clear description of both mage and Magick. An orrery is an apparatus showing the relative positions and motions of bodies in the solar system by balls moved by wheelwork.
The one who created and wears this name is an Australian person of many parts, arts and hearts who enjoys a life of Initiations, receiving and bestowing them as he goes. As a window, Orryelle transmits light (and shadow) through drawing, writing, performance art, body- mind- and spirit- modification, extreme travels, music, and the ability to attract and work with kindred spirits around the world.
Also as a window, Orryelle’s magick can help those who meet him to be launched up and out into new realizations and manifestations, thrown out of the window of common knowledge and common sense and into new ways of seeing. The Bascule part assists the window part as a matter of operational balance through counterweights. Magick requires engineering skills to build sets and props for ritual theater, both in a designated performance space as well as astrally.
Among the influences on Orryelle’s magick are the Magickal Children of Austin Osman Spare, especially Chaos Magick, sigil-making and the shamanic services of bringing back visions and their wisdom to the tribe in dance, or chant, or symbol. Another major facet of this succession from Spare is the descent of the Silver Dusk, a lunar, arachnean, artistic and intuitive response and counterpoint to the more solar and structured magick of the Golden Dawn and their heirs.
He is his own Materia Magicka, his physical body a palimpsest of his workings traced in tattoos, piercings, and, in one set of photos, a pair of wings. Orryelle has manifested his anima physically through hormone elixirs and body modification and has held an Alchemical Marriage with hirself, making a charming couple indeed. The instruments of Orryelle’s arts and magicks include, but aren’t limited to: The Metamorphic Ritual Theatre Company, which presents public rituals aiming to transform rather than merely entertain the audiences; the ever-expanding digital archives and galleries of The Mutation Parlour; and the The HermAphroditic ChAOrder of the Silver Dusk, a global multicultural and multisubcultural blend of tradition and innovation.
Orryelle co-developed with other ChaOrder initiates The Choronzon Machine, a Ritual Opera and musickal-mechanical-magickal device for generating analogue fractals; is a co-coordinator of iNSPiRALink. Multimedia Press; is editor of this IMPress’s SilKMilK MagiZain, and creator of The BOOK of KAOS Tarot Deck.
In the last eight years or so Orryelle has been extensively involved in The Horus-Maat Lodge, channeling several double- current Libers such as Pennae-Ultim-Atum and The Book of Going Back by Night. Other affiliations and initiations include the AdiNath tantric tradition, the EOD, the SSS and the I:.I:. He is also the Australian ambassador of The Dionysian (Down-)Underground.
Orryelle knows what he’s doing and he does it well. Spending time and practice with his works is a good investment, in my opinion. I had the pleasure of holding a rite with him and a colleague at the Serpent Mound in Ohio a few years ago as part of his visiting holy/power places worldwide. His words and actions were appropriate and well-chosen, the power rose without delay, and the charge was sent strongly and cleanly.
I’ve adopted his use of chanting a note for each of the major Chakras to a western scale, ascending and descending depending on which direction one’s heading at the time. The Chakra-tone chant works well for banishments, astral transportation, and attunements of various kinds. (Like musicians, magickians don’t steal from each other; they only borrow.)
Copyright © Nema/Maggie Ingalls, Horus-Maat Lodge, 2007Written for Fulgur and reproduced with kind permission
To continue... this long informative conversation we have with Orryelle months ago,just explore the different masks of this skilled arachnean spirit,always moving into all directions!!

Orryelle, let’s just start with this (dis) conjunction of visions, expressions, knowing: In which way was born the idea to develop your internal & external magickal experimentations through METAMORPHIC RITUAL THEATRE performances?
Metamorphic Ritual Theatre is one of the primary expressions on the outer of the magick of the HermAphroditic ChAOrder of the Silver Dusk. Theatre is a socially-acceptable kind of ritual in the modern west and as such is a means of reaching people who may not otherwise consciously engage with magick or mythos. So it is a way of opening the gates to the public. Many will perceive it merely as entertainment, but there are usually at least a few who pick up the symbolic keys offered and realize there is much more to it than that.
Although theatre is intrinsically ritualistic and has its roots in religious and theatrical ceremonial catharthis in Ancient Greece, most theatre groups or productions don’t acknowledge its magickal aspects and so fail to fully realize its potential for transformation or metamorphosis as well as entertainment.
It was from the conscious acknowledgement of these roots and potentials that Metamorphic Ritual Theatre Co. was spawned.

Does the use of sorcery symbolism, archetypal transformations, and imagery offer a perfect gate to audience to enter the artistic magickal labyrinths you want to express in each performance?
It works for a lot of people. Archetypes and ancient symbols have a particularly powerful effect in that they speak to the subconscious or deep mind. Audience members may not consciously know what a particular symbol or archetype is but it may still make an impression by triggering their mythic memory or DNA resonance, opening their psyche to further mutation or at least contemplation.
Sometimes we have created actual physical labyrinths to house these labyrinths of archetypes and symbols, and these I feel have been some of our most effective ritual performances as rather than being spectators ‘audience’ have to physically enter and engage with an immersive environment, therefore they are more likely to engage more deeply with it on other levels also.

And entering the labyrinths, people can explore deeply within the dark realms of unconsciousness through a reality based on abrasive, suggestive visions focused in the visual and audio performances developed by you as artist?
I don’t know about abrasive. I guess in some cases some of our imagery may seem abrasive to some people, if it threatens their conceptions of reality, but it is not our intention (usually) to be abrasive. Rather we intend to seduce our audience, to lure them into another world from which they can be affected more progressively. But of course to
people unfamiliar with some of our more extreme imagery and sounds or ideas expressed through them, this can be challenging.
With Metamorphic Ritual Theatre not all of the artistic impetus comes from myself. While I co-ordinate and seed our productions, they are often developed further as a group, so several people involved contribute on an artistic level. I’m rarely one for presenting to other performers a finished script with specific lines and everything- it’s a more organic process than that.

The ambitious project “Loom Of Lila” was a convergence of time and space, conjunction & dissolution, creation & destruction, microcosm & macrocosm, death & rebirth, but with the characteristic animism given by Arachnean Kali as principal archetype?
Yes. She summarizes so much to me –and I think to the deep minds of many- as a deity that can represent Fate, Time, creation and destruction, yes, all of those things. So she is a primal essence whose image will conjure for many their deepest fears of death, inevitability (destiny) etc. and thus hopefully help them process and overcome these kinds of intrinsic phobias or obstacles to evolution.
Loom of Lila also explored the very nature of Deity itself, as egregore of collective belief, as Fate co-created by its individual components. Empowerment of self as a recognized constituent of divinity was the goal.

It is known “The Choronzon Machine” has a high connection with Tarot trumps. Is this ritual opera a path to reality; I mean concrete qliphotic forces developed through unconscious mutations regarding the dark nature of Choronzonic energies?
The Choronzon Machine is a reflection of reality, a microcosmic mechanism designed to echo macrocosmic currents. Our apprehension of Choronzon was perhaps an unusual one however, as we perceived Him as being not necessarily malevolent, depending on one’s approach and perspective. The nature of most so-called ‘demons’ or dark forces are dependent of course on how one relates to them.
And how do you relate “the Choronzon Machine” to your ‘Book of Kaos’ tarot, knowing chaos is a dynamic fluidic force latent in the universe. And tell us more about the Kaos Tarot’s vessels generated by your arachnean manifestation?
Well Order is as much a component of my tarot as is Chaos, since a Book (or a tarot deck) is a means of ordering or structuring information or phenomena. In The Choronzon Machine ritual opera the tarot was more of a means of organizing or ordering the more chaotic energies in the production, of harnessing Choronzon for example to pull the Chariot along our path of Intention. The pairing of reflective tarot trumps in each scene gave us a structure with which to order the creative flux of ideas the machine was generating once we activated it.

This same kind of structure or system –since it concerns connections or correspondences between one thing and another- can also be related to Arachne’s web. The Book of Kaos Tarot draws together diverse strands of different mythologies, esoteric models, cultural paradigms and religious pantheons into the umbrella of the Tarot to weave a syncretic system of inter-relationship that as well as creating conceptual links is also practically useful for divinatory and even conjurational purposes.

Do you think art is Magick, causing expressions of change according to our will? Art + magick =generation of a dynamic mutation within your own concepts of an abstract reality expressed through sculpture, paint, animation, video, photography, theatre, musick?
I think all Art is inherently Magickal, but am disappointed at how few modern artists will acknowledge this or explore it more purposefully. As a channel for the subconscious, Art retains and even propagates mystery where Science is dedicated to the removal of mystique in the light of logic and reason. Thus art is more likely to explore fresh territory rather than just attempt to understand or define existing territory. Magick’s association with mystery thus affiliates it closely with Art, and the major purpose of The HermAphroditic ChAOrder of the Silver Dusk is to explore this connection deliberately. To me, Artwork of any medium (and I find they tend to cross-pollinate each other wonderfully) is the prime menstruum or outlet for magickal expression, the transition from abstraction, yes, to manifest reality.

Are your works in astral magick, shamanic trips through atavistic states of trance, principal basis for the very creative expressionism, developed by each one of your artistical expressions?
One of the primary foundations of my Artistic expression, yes; but also I like to create at times not from some pre-envisioned astral or shamanic experience, but directly from the subconscious so that I myself don’t know what is going to come out onto the page/computer/canvas/recording-device, etc. except even as it is emerging…

It will be interesting to know more in-depth information about the mysterious connection between you and Kali, which ended with the writing of ‘The Book of the Spider’ (a channelled transmission included in ‘A Brief HIRStory of TimEmiT fo yrotSRIH feirB A’)?
I’m sure that’s not the end- in fact my relationship with Kali has deepened considerably since then, especially in the recent (Oct/Nov 07) journeys I had in India; but certainly that transmission was a culminative peak. I do not actually see Arachne (Who seems to be the primary ‘author’ of the Book of the Spider, in at least one of her forms) as being the same thing as Kali; I just see many links and correlations between them.

I think it is a potentially dangerous aspect of ‘Chaos Magick’ to directly equate a deity of one pantheon with a similar one of another, as their differences are as important as their similarities. However, I do find it valid in this ‘Information Age’ of cross-cultural pollination –itself a thing which relates to the Hindu concept of the Kali Yuga or Age of Chaos- to speak of hybrid deities which pertain to certain aspects of different deities. One such energy I have worked with intimately is ‘Kali-Arachne’ but I still distinguish this from Kali per se, Who in Herself has many different forms and attributes in different streams of Vedic tradition. One of these forms I have especially gone deeply with recently is Smashan-Kali or Kali of the Cremation Grounds, an extantly terrifying aspect of the dark Goddess Who presides over such places. I spent quite a bit of time at the Tarapith sacred Smashan in North-East India recently and it was intensely transformative. The horrific physical reality of watching bodies burning up close –I won’t go into the gory details here!- and accompanying *experiential* realization of the mortality of the flesh, eventually gives way upon meditation to an enlightening reminder of the immortality of the soul. Similarly Kali’s outer form with protruding tongue, necklace of skulls, belt of human hands etc. is a mask which veils the ultimately nurturing reality of Vishvamata, the ‘Mother of the Universe’ Who draws all unto Her starry bosom…

In a similar way many are afraid (often illogically) of spiders or arachnids, and this is one of the parallels drawn in ‘The Book of the Spider’. Female spiders devour their mates, but this can be ecstatic rather than a struggle if we surrender like Shiva to the Goddess’ embrace. All metaphorical images, but the essence of The Book of the Spider seems to be about facing and therefore alleviating our fears, whether in relation to death, sex, inevitability (/’Fate’ ), surrender of control or any combination thereof…

Is Arachnean energy a fluid, dynamic convergence of you as magician in astral worlds?
Aside from the aspects I just touched upon –and as a magickian I seem to often confront people with such undeniable aspects of reality- I see pretty much all magic as spider magick of a sort, since magic is all about drawing (or becoming aware of) threads or webs of connection between one thing and another. So it is an archetype I often adopt, astrally and otherwise, in this great wyrd weaving. But as well as a personal aspect of my anima, the Spider-Mother seems intrinsically related to those I work and play with, and so I find myself a part of a ‘Spider Clan’ of sorts, in which context She goes beyond a personal avatar into some kind of tribal overseer or guardian. Then there is of course the Great Mother Kali who presides over all life (and death), so there are many layers to the relationship…

Why the necessity in your life to reflect your astral meetings, in this existential plane?
Otherwise I wouldn’t really be doing Magick, except in an armchair sense, at least not in relation to anyone else. As long as we have physical bodies it is I think vital to earth our experiences on the physical plane, for the sake of Art, beauty and surrealism, and also to create access-points for others to experience these astral realities.

Could we relate Kali-Arachne to a black hole with 8 rays, a symbol of Typhonian magick, a gateway to Universe B, in which the Hermaphroditic Chaorder of the Silver Dusk was built, according to the works of A.O. Spare and Andrew Chumbley? Whoa, that’s some convergence of different magickal paradigms you’ve got happening there! Certainly there is overlap, but to my knowledge (which is by no means complete of course) neither AOS nor Chumbley really wrote directly about any of those things, at least not in those terms although they of course touched similar currents, which is I guess what you’re getting at. I think Kenneth Grant has drawn threads between those terms, but the works of Spare I don’t think mention the concept of Universe B or the Typhonian current, though I’m not sure about Chumbley because he was affiliated with TOTO for a while and created the Ku Sebitu (sp?) in conjunction with Grant.
Universe B works for me as a basic concept of ‘the Other’ and I like Grant Morrison’s take on it as including ‘fictional’ or other such artist-created realities which may refract into the physical world of Universe A. But what about Universe C, D, E or X? Anyway, the ChAOrder was ‘built’ i.e. actually constructed here on the physical plane, well it’s still under construction; but certainly elements of inspiration in this building came from elsewhere, Universe B or some-such!
Typhonian Magick seems primal, animistic, and Typhon is herself intrinsically female (perhaps ‘feminine’ might be an inappropriate term at least in the light of social gender conceptions, although these are rapidly changing!) so yes Kali-Arachne seems to relate to this current. She is the Mother of our Clan, and will swallow us all ultimately back into her great mouth/womb from which we sprung.
So, in a roundabout way- yes!

How do you introduce your own mental transformation into dynamic structure as the hermaphroditic chaorder…? And what’s the main purpose from a magickal platform? Perhaps the manifestation of True Will, having the central doctrine of Self-love; Pure Love under Will?
That works for me. The ChAOrder is a collective expression of True Will, a resonance and communications web of magickal-artistic co-development for those who have found their own individual True Wills- well I would hope most of us have, it seems so.
Spare’s doctrine of Self-love is indeed ultimately intrinsically linked with True Will, since when True Will is fully discovered, self-love is almost inevitable, and/or when self-love is really attained (not just on a superficial level) it is hard to avoid or deny one’s True Will. So that is a most astute observation, Kerval!

You say: ‘Chaos is all around us, within us and without us. Chaos destroys and creates. Chaos is the spontaneous unpredictable movement of the universe.’ So, from such statements could we affirm that “there is no creation without destruction” and vice versa?
To understand chaos we must create and destroy ourselves, I mean to experiment with the dynamism of our essence, to die and rebirth all time again, and again, magickally-speaking?
Yes. As Crowley said, ‘Die daily’. Not, I think, a reference to his heroin habit- since that soon becomes more like a permanent death of the soul without resurrection! –but to the magickal reality of constantly surrendering your conceptions of what you and your reality are, and allowing them to be reborn constantly, with a refreshed perspective. Though ‘chaos magickians’ seem to often have a tendency to overdo this personal death-rebirth thing, creating a kind of entropy which becomes the equivalent of stasis in that the belief-paradigm is so regularly shattered there is no chance to earth anything!
The trick I think is to die and be reborn fairly regularly yet still retain something from the ‘previous birth’ –whether we are talking on a scale of actual incarnate life-times here, or abyss-plumbing, annual overhauls of self and reality, or even ‘daily death’ –thereby building on what we have achieved already, while still re-evaluating and breaking-down what is no longer relevant or useful.

It is known you developed some rituals which included estrogen intake. Were such rituals and use of estrogen a way to increase a hermaphroditic mutation as an alchemic process to awaken the latent feminine energies in each one of us?
It was a personal journey, aimed at transforming myself rather than anyone else, but that’s where all magick has to really start –with the self- so if others were sufficiently inspired or otherwise affected by my journey then perhaps it has helped awaken the latent feminism in other males also?
My Alchymic Wedding was also an actual physical wedding ceremony as it culminated the nine-month journey I took with hermAphroditic reification. The Alchymic Marriage is usually a metaphor, a spiritual rather than physical journey to unveil and unite with the female within the male or the male within the female. I decided to physicalize this process also, as a magickal experiment.
Of course, taking estrogen and the other physical aspects of the process ultimately affected my whole being rather than just my body, so it was a thorough exploration of anima –a true mutation indeed.

How has this physical/mental transformation, helped you to work more into Hermaphroditic Magick? Referring to this, it is known you will write a book revealing aspects of Hermaphroditic Magick. Tell us more about such upcoming book?
Well that book is not something I’m actively specifically working on at the moment as other projects have taken precedence, but as so much of my magickal/artistic work relates to hermaphroditism- actual or symbolic- there is always a lot of potential material for such a work. The idea is that eventually I will compile all of my relevant writing and drawing into some kind of definitive tome on the (broad) subject.

Let’s talk about a few of your activities in: The Horus-Maat Lodge, SilKMilK MagiZain? And also your initiation in the sacred Adinath tantric tradition?
Adinath was the first Tantric lineage I was formally initiated into, so a powerful experiential link with Vedic traditions and mythologies I had begun to explore. The ceremony was immediately surrounded –both forward and drawkcab in timEmit- with omens and magickal phenomena of a most transformative nature. Interestingly as my initiator was ‘Hermeticusnath’ (interviewed elsewhere in this journal under his other magickal name of Aion) – his name itself a play on his equal interest in eastern and western magic- there were also many correlations and magickal links from that initiation with other systems and pantheons such as Ancient Egyptian. My own ongoing work in the Horus-Maat Lodge as well as Hermeticusnath’s (being one of the Lodge’s founders) probably helped divulge such associations.
Since Adinath I have had two other Tantric initiations- Shaktipat into the Muktananda lineage which has proliferated in the west primarily through the ‘Siddhayoga Foundation’ –this was not so magickal in terms of omens, catalysts and such synchronistic phenomena, but was energetically intense as it seemed to help facilitate a further awakening of Kundalini (that was certainly already writhing) for me.
Just recently my third Tantric initiation was the first actually received in India from an Indian Guru- an induction into the extreme path of Aghora. The meditations upon burning corpses I mentioned earlier were a part of this ‘fast path’ to awakening.

My direct involvement with the Horus-Maat Lodge has lessened in the last few years as I have become increasingly involved with the eastern Tantric traditions, and also with establishing the HermAphroditic ChAOrder of the Silver Dusk as a global dis/organization. However I feel the double current of Horus and Maat will always be a strong underpinning foundation for any of my magickal activities. Even before I consciously knew of Nema’s work or The Horus-Maat Lodge I resonated with the idea of an Aeonic double current – that although Crowley’s ‘force and fire’ makes sense for this Age it is only part of the picture, and we can’t just replace the Father with the Son or we’ll end up with another patriarchy.

So a gender-balanced (and since aeonically this is only a metaphor, generally balanced) aeon of Son and Daughter simultaneously makes more sense for our current paradigm –although it could equally well be represented by hermaphroditic deities such as Baphomet as convergences or unions of these twinned currents.
Ultimately of course such gender images are only representative of polarities within the self, so I am not of course advocating a ‘heterosexual age’ or something. Quite to the contrary, the full realization of all ‘genders’ within the self allows any kind of sexual expression free reign.
The Horus-Maat Lodge is a wonderful group of mages many of whose enthusiasm and creativity seem to allow greater development as a loose network of kindred souls than many much more ‘organized’ magickal orders whose activities remain static or repetitive.

SilKMilK MagiZain has taken a back seat for a few years while I’ve been focused on other more personal projects such as my forthcoming graphic grimmoire ‘Conjunctio’ (to be published by Fulgur Limited), but will be revived at some point. It is the primary publishing vehicle of the HermAphroditic ChAOrder of the Silver Dusk and our affiliates, edited and produced by myself but containing works by many which demonstrate the diversity of Magickal Art –in musickal (a full-length audio CD accompanies each print magazine) and textual as well as visual media- produced (primarily) by members of the ChAOrder.
The second and third issues are still available:

For you are spirals, webs, Arachnean archetypes graphic symbology which represent a definite language designed to increase the communication with the subliminal psychic world developed through the Hermaphroditic ChAOrder of the Silver Dusk?
Well said, to the extent that I don’t know what else to add to that summary that I haven’t already covered…

Do you think there is a connection between the Hermaphroditic Chaorder of the Silver Dusk astral temple and Sabbatic Typhonian currents, by the fact of working with qliphotic energies; or is it more a kind of experimentation with different levels of magick?
I’m not sure why you are referring to the astral temple here, being unfamiliar with it (it is only used by initiates of the ChAOrder); so I will take the question in a more general sense in relation to the Silver Dusk as a ChAOrder and Magickal Art Movement: There is definitely a strong element of Sabbatic witchcraft in the Silver Dusk, in terms of sexual gnosis and astral conclaves; and our relat
ionship with primal Typhonian currents I have already touched upon.
The Silver Dusk is not concerned exclusively or even primarily with Qliphotic energies, although exploration of the Nightside of the Tree- especially in relation to the subconscious mind and its revelation and reification via magickal Art- is certainly an important aspect of our work/play. So it is experimentation with different levels of magick, yes, and the connection you suggested with Sabbatic and Typhonian currents is but a strand (or two?) of a vast web of different avenues of exploration, albeit quite large and multi-textured strand/s…

Orryelle, thanx for your interesting answers. Just hope to have the second part of this conversation next time…your last words and remember….Void awaits you!!! 111 Awaits me?
I’m already in the void, I just have trouble perceiving it sometimes since it’s …Not there!
…and all this other interesting magickal stuff IS -emanations there from which seem even more miraculous each timemit I do seem to manage to dip into void-space-(non-)awareness and re-turn to the wondrous world of form… Thank you Kerval.

sábado, 4 de octubre de 2008



A simple formula of trance used for divination...One night I was very sick (fever)by the fact I don’t like to take chemical medicines, I just think to let the fever flows. When the hours were passing I got 30 fever degree and came to my mind the idea of using such state as a method of trance to establish connections within saturnian guardians and cells from my HGA asprocess of information relating to some questions which will determinate important aspects in my life . so, I was very sick coz fever puts me in so "catatonic" I must say. I burnt astral incenseof Saturn which is the planet who ruled my zodiacal sign Aquarius. Is known in the phallic religions, the sun is the creative representation of god in macrocosm, the universe and the phallus the representation of microcosms which is,in way to expand my creative force to gain more energy to work in astral I began a seriesof masturbations via anus and phallus so reaching more influx of both energies (fever-the gate) and (the orgasm-the vehicle).After orgasm I just entered in depth trance, because I wasn’t notsleep nor awake, just in a strange state of limbonic state in which by intuition start to formulate 3 questions slowly spoken just like a kind of mantra. so by experience it worked perfectly when weekslater I got 2 results of such formulated questions which I got through twisted visions in a form of arquetipes which I draw and written about in my record for my later studies. The transmissions came from a strange way difficult to explain coz is pure sensorial emanations.



Iv lost count how many times Iv seen it in hundreds of forms. Iv seen what lies behind its Myriad Masks and what it is. It Mirrors my fears and desires. It's been there since I was child...I was into Ninjas, Masks, Aliens, and drew alot of things without faces, but only eyes. It's been there unconsciencely there my whole life. The first conscience realization of it came to me when was 17 to 18. Id been getting heavily into studying Magick, Experimental Industrial muzak, Surrealist art and writing Stream of Conscience Poetry, pushing too much, too fast. I'd sign my poetry "Naked Face" even tho I'd never even read Lovecraft, or herd of Nyarlathotep.
One day at a party, a few days after dropping LSD for the first time, We was sitting in circle, playing word association and telling each other our first impression of each other. This girl looked at me and her eyes got Big and she freaked and ran outside. Everyone confused, someone got her to come back in. She took me off to the side and told me "I seen this thing superimposed over you with no face, it face looked swirly, like it could molded like clay, It was skeleton like with gray-green skin and external ribs, the prettiest thing about it was the its wings. They was large and colorful, tattered butterfly wings". This was coming from someone who was a Virgin, never done drugs and a was bit naive. So I took it heavily into consideration. About 3 weeks later I spent Halloween in a mental hospital, due to being unable to sleep or eat for a week. I felt very uncomfortable in my body like something was blowing up like a balloon, void yet full. I was physically strong, my senses very acute to the point of it being unnerving, and I wasn't on drugs. They was giving me anti-psychotics and sleeping pills which had no effect. They was scratching their heads, trying to figure out what to do with me. I manipulated the psychiatrist to let me out, coz treatment was doing no good. I Flushed the pills, drank some beer ,smoked some weed with some friends and I felt alot better.
Since then... Well that's a very complex story...Put this way; Eventually I Signed the book of AZATHOTH in my own blood, requested to be an extension of Nyarlathotep:It said; "Your Wish was granted, but you will not know when it will come and if it'll ever end..."
Iv watched my own face be Assemutated into its Collective-Manifold - Totem-pole. Iv found my self a to be a Director in the E.O.Dagon, I started a Messenger ov Kaos group upon its request. It marked me in a dream with a angled rune on the brow over my right eye with a sword. It did come and I don't know if it'll ever end...
~.*.AzOtEp.* . Onward to Strange Aeons...



Theory: The sleep/waking boundary is arbitrary, mutable, and reversible. Its permeability is determined by the development of functions here referred to as "bridges." The bridge from waking to sleep (i.e. access of sleep contents while awake) is dream recall. The bridge from sleep to waking is lucid dreaming. Thus:
/----> lucidity ---->SLEEP WAKING<---- recall <----/
Under usual conditions (including intensive social reinforcement), the waking reality is actual, relative to the dream which is virtual. These valuations too are mutable. Practice: Ideally, the practitioner is physically safe, but in a spiritually and intellectually unsatisfying situation. It is advisable to undertake this practice only in good health. Unusually rapid "progress" may be made during illness, but what dangers there are in this rite are greatly magnified. Likewise, psychoactive drugs are neither required nor recommended during this rite. Stimulants must be avoided. Practice requires a period of one month. The entire rite is performed indoors. Activity must be restricted to no more than four rooms. (Actually, a studio apartment is ideal.) Note that this requires stocks of preserved foods and nutritional supplements, or a provisioning assistant. N.B. It is wise to have this latter in any case, in order to anticipate and deflect outside interference with the rite. The sigil of Qulielfi (viz. Liber CCXXXI) should be embroidered onto the pillow used for sleep or painted on the ceiling over the bed. The rite is performed by sleeping. Extend the period of sleep a half hour every day until sleep takes up at least 18 hours out of every 24. If temporary insomnia occurs at any point, remain in bed and daydream or use "Qulielfi" as a mantra. "Typical" Scenario: 1st week: Fine-tune dreaming reality by adept use of bridges. At the end of this week--as sleep approaches 12 hours per day--"prophetic" dreams begin. Elements from dreams will recur in waking in the same way that waking elements ordinarily recur in dreams. 2nd week: Dream reality begins to cohere. Do not continue the rite past the second week if the dream reality is threatening at the end of this period. 3rd week: "Waking" reality begins to dissolve. Do not continue the rite past the third week if bridges are not well-established (unless it is your Will to thoroughly abandon the waking reality with little chance of reconnecting to it). 4th week: Waking reality now subsidiary to discrete, materialized dream reality. Notes:Depending on the strength of the bridges and the depth of the stage that is indicated above as the "4th week," the return may be to a different (by varying degrees) waking world than the original one. With strong bridges it should be possible to maintain the original waking world through a series of rites (as many as six or more in one year--though creative use of time dilation could improve this immeasurably) which establish widely differing dream worlds, creating a radial reality structure with the waking world at its hub. Rather than returning to a "normal" schedule at the end of the rite, it is possible to go to one of 10 to 14 hours of sleep per day and thus work the limen between the two worlds to thaumaturgical effect in either.

DARK AKTIONS I (article)

Dark Aktioner

Life as a Succession of facts, memories, events, mental constructions, ideas, nightmares, elapse so indeterminate, senseless; fragments that are trampling indiscriminately, creating parallel universes that are in the chaos of reality or interfere with it.
An image was projected in my mind, a white square and two subjects interacting in three basic colors, red, black and white. Some loose elements (subjects and colors), cut the linear time elapsing, eliminating the human subjects, transforming them into space, into color. Reaching by a fraction of time to be alive, and to convey this energy to the crowd, and then to people who see part of the register in photos or videos.
By chance and books i knew about viennese actionism, a movement of Austrian artists in the 60's, explored and questioned art with radical and deep way, with an aesthetic simple and close to the design or architecture, an art offender of reality and human establishment of the Western culture, with the perception of art as psychological release, as a catharsis, as a sacrifice.
All to save the natural and basic impulse of art as a stroke or a gesture, reaching a moment of pure expression, a spiritual catharsis; sublimate the natural suppression of life and explore mental areas that are normally forbidden by our temporary, physical or cultural situation.
No matter how is good or bad, or what is good or bad, either ethical or moral judgments or even aesthetic, no matter anything. Everything is encrypted and conditioned in our brains.
he is developing a second Dark Aktion II.soon more information.

HGA/SHADOW and DAATH (Article)

HGA/SHADOW AND DAATH ( Fusion not Confusion )
By Azotep

All in One, One in All, or Double or Nothing? A means to an ends or a end to a means? The Devil wears mirror shades. Look into its eyes see a reflection of yourself, but read between the lines....I've got this thing going on 24/7 when I look at something I close my eyes and I see a Negative of it. If somethings spinning one way, I close eyes and its spinning the other way. I see the Abyss like a fractal mirror. Each reflection a slightly different variable. Such iz the Nature of (in)Evolution. "Life sucks order from the Sea of disorder".
Some say Daath is not The Abyss, do the clothes make a man? It's the shadow or empty side of Tipereth (the black sun). The Abyss- well, it's the Void of eastern mysticism. It's that which pre-existed the Big Bang. THATness.Some people think that death is related to the ego-less state of being is a mystery to me since the egoless state is simply a state of detachment. Look into the Abyss. What do you see? It's a mirror. No big deal for some. Death for others. Picture a beautifully colorful sunrise or sunset - therein is the Abyss -what came out of it. Flowers bloom. Some people walk through life and never once realize the beauty around them. Be where you are.Become. NOW.

Affirmation:Here I am. I am I not Eye the Outer Child. I have Nothing to say, but I'll say it anyway..."Maddens is a state of mind so is death-Like death madness is ever becoming, ever- changing, elusive ecstatic..."~Wisdom of S'LBA.
A few winters ago I was contemplating about Daath/Abyss. I was thinking about my self initiation when I was 15.When I gave myself my first tattoo on my left arm, the word DEATH....and then my whole state of mind/life changed....At that moment I'm walking along I look down and there's a copy of the NECRNOMICON siting on a bench. Immediately I am struck by this. I put it in my pocket...
Some say Confusion is the effect of the Abyss, I say Fusion not confusion. Knowledge is nothing but an illusion if we confuse the map with territory. The great path which we must cross. For those who search to tranzcend, must dissolve the Ego and be silent. The abyss is the most critical way to spiritual path, coz in this way are disguising diverse conscious and unconscious forms through apparent realities or aspect of individual..s will which tends to turns aside us from the search we have started. Some people spend their whole life being torn into pieces by not excepting the irrational elements of their nature and an initiated must know very well the roots of his nature as so,I think that any initiative process of any magical system has a point of culmination, I think this process must be complemented and continued in other existential planes or cosmic sphere which surpass any rational critic; The voices of reason through reality in confrontation with the mental visions that confront us. We/I many years ago Danced around moments of time to create Multidimensional images of what we thought to be our "true will"& is through this (con)fusion/FUSION which are invoked unconscious Qilithic forms az an extends-ion of our psychic energy and our initiation process continues by merging with the "other". These Qilithic forms in Daath are known as Choronzon/Nyarlathotep.

The principal word to describe this initiation is DAATH and this only will come when the supreme wimsical will of Chaos gives us it..s consent to act accord with it.Through Death(not physical). We rebirth having as result the awaken in sub-conscious of a powerful and unified force called "Universal mind". Mind that controls all lauguage, bodys, souls changes from moment to moment and our only possibility to attain any kind of true continuity. "One thing leading to the next" is to do huge and interrupted efforts of collective will with-out uniformity. In this process of self initiation there are moments of trifling frustration, Fear, conflicts and boredom which are the reflections to be caught in an external world and as much caught in the external universe. The more forsaken we feel as much inside ourselves as we descend. The feeling of security is lost, and when such security is attained you will experience the experience of liberty and Chaos. There may be no purpose but we must create purpose for ourselves in the path of life and so attaining the total knowledge of our nature and to awake the powers of Chaos which are in ourselves through the true will, coz the free acts of will determines the definitive equilibrium anyway. So, we must fight like brave warriors of Cthulhu to cross ourselves, our own abyss of knowledge to explore inside ourselves to transcend the whole spiritual paths which are hidden in the unconscious veils...Turn inside out...YOU'LL NEVER FIND YOURSELF WHEN YOUR TRAPPED WITHIN YOUR SELF.
Though the oceans of Daath...See the sunlight shining on the waves?