Friday, 30 August 2013
For the last few weeks I have been busy on a non-occulty project called Sodthe.net (STN) It is a news for nerds site but it is entirely humour-based and satire. It covers tech news, but also science and archeology. If I am honest it covers the sort of non-occult stuff, rants and humour that interests me written in a way I find amusing. I find it interesting that on this site I can't stop myself making bizarre occulty references and writing in Sci-fi references and stories.
I hope it takes off because it has been a lot of effort. Those who have visited it like it and we are just starting to get the site onto all the search engines and get noticed. We will be adding more made up pictures and stories as soon as we get a moment.
So pop in... if you see a story you like, comment, share it with your friends and spread the word... this could be a lot of fun
Thursday, 29 August 2013
Few of the diagrams of the Golden Dawn are used in the Modern Golden Dawn initiation rituals. This is because many modern Golden Dawn orders were based on the rituals printed by Israel Regardie just before the Second World War in his Golden Dawn book.
The Bristol temple was going through a phase of removing parts of the ritual it did not understand or felt were cumbersome and the versions of the rituals that Regardie experienced were these cut down rite. The candidate still saw the diagrams, they were given to him or her during their course work and that was felt to be enough.
When deciding on the rituals of the Magical Order of Aurora Aurea I felt that we should return to the Whare Ra rituals. Whare Ra was the last surviving order of the Golden Dawn, closing its doors in the late 1970s. I worked with some of the people in that temple after it closed and know the magical depths they managed to find within the Golden Dawn system.
Going through the old rituals, I was surprised at quite how many of the diagrams there were which have to be presented to the candidate. Some were obvious, some I had seen and some were a complete mystery. Some diagrams even appeared to be repeated or the information duplicated across several grades. In each case the diagram was explained by the officer, often extending the length of the ritual considerably.
Part of me started to agree with Bristol and think they should be edited out. After all how can a candidate who has undergone an initiation that means anything actually stand, let alone comprehend the subtleties of a dozen diagrams.
I had been following a few threads on the various diagrams and decided that what ever happened they were important for a reason unknown and the Magical Order of the Aurora would use them in its initiations.
One thing we did do was to use the godforms associated with the diagrams to over shadow the candidate during the speeches and to link the diagram to the candidate's sphere of sensation. I thought that this would be fairly tame and a sensible magical use of the them.
This was interesting so I returned to the rituals to note where some of the confusing diagrams apppeared. Perhaps the strangest was the Geomantic Diagrams which were scattered throughout the GD rituals. However if these diagrams were part of a huge psychic operation which is taking place on the candidate's sphere of sensation over several rituals their function becomes more than simply providing intellectual information. Geomancy works with the Earth spirits so in the initiation it is sealing and earthing the different components of the psychic operation. This is particularly so in the 4=7 when the candidate is shown something which tells them how to build an Earth talisman. Pat Zalewski was the first to spot the fact that when Mathers converted the the Cipher manuscripts so that the geomantic symbols used in the talisman were Rubeus and Puer. It made sense in some respects in that the path where the candidate is exposed to this particular talisman is on a Luna path and Mathers wanted to hint at the feiry Mars aspect of the Moon. The fact that he changed it is crucial because it says he recognised that the presentation of the diagram would have a magical effect. Unfortunately he was being a little too clever by half. The author of the Cipher documents said that the talisman should be Rubeus and Admissio. The fusion of these two geomantic symbols would be to negate the destructive aspects of Rubeus and allow the positive flow of love. This path after all is a move towards Netzach and very appropriate to the idea of the Moon under the influence of Mercy.
So it appears to be fairly clear that an operation is taking place here and not simply the masonic presentation of intellectual knowledge.
|Berridge's AO diagram of Nebuchadnezzar|
Take another example. Several times the candidate is shown various versions of the geometric shapes, in different guises. The information could be worked out the first time you see the diagram so why do you get a reprise for the second and third times. My suggestion would be that this is giving the sphere of sensation instructions in an energy form that it can use them to communicate but also crystallising parts of the sphere of sensation so that they fit to those shapes.
All this is fairly good magic covered under a dry intellectual shield. If the diagrams, such as tarot, have the effect of shaping the sphere of sensation then it becomes crucial that they are used and presented to the candidate.
But the diagrams also have another function in the temple. When they are not being showed to the candidate they act as invisible stations for power. This makes their placement important as it is possible to see lines of force between them. Remember that in an initiation the temple represents the candidate's sphere of sensation so these focal points become crucial.
With these diagrams being restored to the position of magical weapons their power becomes obvious. However this does raise some pretty obvious questions. The first is why did the Bristol temple think that ditching the diagrams was a good idea?
It is quite likely that in various times in its history the Golden Dawn has degenerated. The magical meaning behind the rites has been lost. While Felkin's Whare Ra remained on the ball there was no-one to check what the “provinces” were doing. There is an inherent trend within the Golden Dawn to kill off its magic side, or at very least, not study it. When this happens an order goes through the rituals and the motions of a working order without it being one. Diagrams, which superficially appeal to the Intellect are easily dismissed for what they appear to be, rather than what they really are.
Reblogged from 2010
Sunday, 25 August 2013
|Edward Kelly from the rare picture|
A very rare painting of Dr John Dee’s magic partner Edward Kelley has just been sold at auction.
Measuring over 8ft wide (2.49m), it was painted on nine wooden boards and depicted the alchemist (1555-1597) it had been stored in a stable in Warwickshire and then a coachhouse in mid Wales for many years, it had previously sold at a public auction within the last ten years but then re-emerged at Mellors & Kirk's two-day auction on June 12-13.
It is the only known painted image of Kelley. Simply cataloged as '17th century English School', and was not printed from real life,
In fact it appears to have been based on a later woodcut image of Kelley which was used as the frontispiece to Meric Casaubon's excerpts of Dee's manuscript diary published in 1659.
Kelley was born in Worcester in 1555, educated at Oxford and for a time went by the name of Edward Talbot. Before acting as Dee's scryer or medium, Kelley had worked for Thomas Allen, an astrologer known for practicing "black arts".
The estimate at the Nottingham sale was £3000-5000 - a reasonable pitch given its unusual and somewhat esoteric appeal. But it was considered "extremely fragile with numerous areas of flaking/missing paint... Shrinkage cracks between the boards.. Areas of woodworm on the reverse.. original rusted iron butterfly hinges. The auctioneers were warning that even moving it could be risky. It was sold for £7500.
While it is not a picture taken from real life, it is interesting because it flies in the face of many impressions of Kelly as being a young criminal figure. Here his beard is white and even longer than Dee’s. He is not exactly slim either.
It appears that the painting was made for a person who was working with Dee and Kelly’s system. It was painted on the inside of a cupboard or meditation room. In the background there appears to be an image of someone summoning something while standing in a magic circle. In otherwords this is not about the alchemist Edward Kelly, but the magician.
This suggests is that there was a belief amongst the esoteric community of the time that Meric Casaubon’s woodcuts were accurate and perhaps based on his research rather than artistic fancy. However the literal fleshing out of Kelly would appear to be based on some information which has not come down to us from other sources and the fact that it came from Warwickshire suggests some local knowledge.