Tuesday, December 30, 2008


Sakyant Buddhist Tattoo Forums • View topic - As in days of old - opportunity to obtain genuine gunstopper Amulet

There are lots of amulets on the market as far as Thai Amulets go, but few have genuine magic power.
These ones do, and are available for those who can make it to the temple in time, or you can bid for the 3 i have on auction to raise funds for the free food hall for the local villagers in Ta Sae Thailand.

Saturday, December 20, 2008

Magical use of voice
By Phil Hine
Speech is the main form of communication used in our culture - we are all capable of making a wide range of noises with our mouths, and as the word "en-chant-ment" suggests, the voice has played a powerful role in magick, in all ages and cultures. The aim of this essay is to examine the ways in which the voice can be used in magick, and suggest exercises which will help the reader to develop the range of vocal techniques.

In all cultures, the voice has been an important carrier of power, and most mystery traditions and religions make use of songs, chants, and prose to worship or bring about gnosis. From dramatic choruses to hymn and prayer, from working songs such as sea shanties and battle songs to children's skipping rhymes and folk spells; the power of voice is amazing. Orators, both political and religious, have used the power of their voices to project their charisma and enthuse mass audiences - look at the crowds that Billy Graham attracts for example. The sound of a spoken phrase can go far beyond its meaning to speak directly to the Deep Mind. An extreme example of this is described by Nandor Fodor, a Jewish psychoanalyst who notes the effects of listening to Adolf Hitler's "rabble-rousing" speeches. He had heard these speeches on two occasions on the radio, and recalls that although due to its raucous harshness, Hitler's German was totally incomprehensible to Fodor (who was a native Hungarian),he felt that:

"ever so slowly, my blood began to boil, and I wanted to shout and scream. It was not a rage against him. It was with him, like a flow of lava is with the volcano."

Modern politicians very often resort to a speech pattern known as "pathic", which combines tone and the pacing of words to project an underlying message that no matter what they are talking about, they are "in control", and "everything is fine - don't get alarmed". The waking mind can be easily bypassed, so that meaning is carried directly to the Deep Mind, stirring the appropriate emotions which the speaker wishes to stir.


We can use our voices to convey and project emotional messages very effectively, and tone often betrays our true feelings on a subject, despite what we actually say. Young children are often confused by a verbal threat delivered in a light tone of voice. Therapists and healers can pick up a great deal of information from a client's manner of speaking. The huge differences in accents in a country allows us to identify a persons origin, even though they have been resident in another region for years. Using soothing tones can lull people into relaxive trance states, while shouting and hyperventilating can propel us into excitatory states - as demonstrated by cults such as the Shakers. Elsewhere we find that the voice can be an aid to martial prowess - ranging from war cries and battle songs, to the articulation of short syllables during martial arts duels, which are designed to act as carriers for chin (jin) or to distract an opponent.

Speech also has a cosmological dimension. That, "in the beginning, was the Word" is a concept common to many cultures, as is the idea that the correct pronunciation of certain Divine names will bring about the end of the world. Also, there is the idea of the "Rule of Names", most eloquently expressed in Ursula Le Guin's "Earthsea" stories - that if you know the "True name" of an entity, then you can command it". William Burroughs, in "The Place of Dead Roads", puts it another way:

"As soon as you name something, you remove its power....If you could look Death in the face he would lose his power to kill you. When you ask Death for his credentials, his passport is indefinite".



This principle is well-known to all those who delve into the depths of the psyche - that vague, unnamed fears can be "tamed", once they are recognised, and having been named, can be isolated and drained of their power to terrify. I will be looking in some detail at some of the magical vocal techniques based on this principle later.

Use of Voice

The way in which we use our voices is a powerful way of projecting our personalities. the way in which we deliver speech in a given situation can reveal many things (both to ourselves and others) about our feelings. To use speech effectively we must be:

(i)
Confident
(ii)
Aware of others
(iii) Relaxed

(iv)
Clear in our thoughts
(v)
Aware of how speech affects a situation.
With practice and experience, we can learn to use our voices so that we can carry emotions and feelings to others, ranging from stirring people to enthusiasm and action, to lulling gently into relaxation using soft words and tones.

Group Chants

Group Chants are one of the most effective (and fun!) ways of raising energy, especially when combined with dancing, stylised movement, gestures, and swaying. Some of the most popular chants are those taken from Amerindian sources, such as:

I am the Circle, I am Healing you, You are the Circle You are healing me, Unite Us Be One Unite Us Be as One.

We are at one With the Infinite Sun Forever, Forever, Forever

Such chants as these express and reinforce a sense of belonging, both between immediate group members, and with the wider world or universe. Chants tend to build up slowly, and pick up speed as people feel the growing rhythm and pulse of the words and beat, which "carries" people along - it is easy to get so caught up in the chant that you begin to enter a trance state - but don't just take my word for it -try it out! The Darksome Night and Shining Moon chant of Wicca is another good example of a group chant - especially when each line is chanted by a different group member. The words of the chant serve to resume the central concepts of Wicca - the four elemental directions, the magical weapons, and the complementary natures of Goddess and God, Darkness and Light.


Spinning mantra

In the most commonly used form of chants, each member of the group repeats the entire verse. However, the "Spinning Mantra" differs in that one member intones the first line of the chant, the next person, the second line, and so on. One note can be used throughout, with the same syllables stressed in each line. Another variant is to start the Spinning Mantra off, and have the members of the group wander around, stopping briefly in front of each other to chant their lines. This can be very disorienting, but is very effective if performed with a large group.

Group AUM

This is a simple group exercise. All sit in a circle, with eyes closed. After taking a few deep breaths, begin a long drawnout A-U-M chant. It need not be synchronised, and is very effective in relaxing people. It is a common experience that the AUM is chanting itself, through the members of the group.

Hog Calls

Here, one member of the group makes up a sound, call or statement and shouts it out, and the rest of the group shout it back at them. This can be especially effective as a kind of freeform invocation, for example, if everyone is familiar with the qualities, attributes and features of a God or Goddess. It can be used as light-hearted introduction to designing invocations. This form of repetition is commonly used in tantrik ritual, as salutations given to the god who is the object of the ritual. The example below is just a few of the 108 ritual salutations to the god Ganesha:

Salutations to him who has an elephant's face Salutations to him who wields the mace Salutations to the son of Gauri Salutations to the lord of planets Salutations to him who transcends all qualities Salutations to him who is lion-like

Humming meditation


This begins in a similar fashion to the Group AUM described above; each member of the group sets up a humming note, which can change in tone and power at will. The Humming should be kept up for at least 20 minutes for people to feel the effects of it.

Soundscapes

The idea of Soundscapes is for the group to explore how to use words, tones and sound patterns to build up a "picture" - creating the atmosphere appropriate to the chosen theme. My favourite example of a vocal Soundscape is one produced by an experimental drama group, when asked to express the theme of "Sweets". The group members each chose "mantras" used in advertising jingles and developed individual rhythms, so that the resulting Soundscape was a mix of:

"Only the crumbl-iest, flaki-est choc-late, tastes like choclate nev-er tasted bee-fore!" (drawn out, sung high) "Hot choclate, Drink-ing choclate." (Chanted fast). "Skit-tles" (repeated with a pause inbetween). "Mars-Bars" (Bass chant). "Smartie-People-are-happy-people" (light refrain)

Get the idea? It's useful to get people to brainstorm ideas about a particular subject or theme, and then to choose one word or phrase to use as the beginnings of a chant. You can also use soundscapes to evoke and exaggerate moods, and develop group-grown chants for rituals and spell-casting, more of which later.

Why does singing and chanting have such a powerful effect on us? Repetitive or boring tasks are easier to perform if there is a tune in the background, or if someone starts to sing. I remember with particular fondness the "work songs" which were evolved when I spent a few months picking oranges and grapefruit in Israel, and they certainly livened up what was a boring and strenuous task. Songs and chants establish rhythms, which not only distract from the boredom of a task, but also seem to add energy and help "carry" each person along. Group spirit and enthusiasm is raised. One of the key factors seems to be rhythm. rhythms carry our consciousness along, from heartbeats, to cycles of breathing, sleeping, night-day and the passage of seasons. rhythms promote associated body movements and adjustments, and act as a signal to begin movement without conscious effort, so that less energy is expended when you begin; for example, it has been shown that soldiers can march further, and in better form, with less fatigue, when accompanied by a marching band. The feeling of being "carried" comes from the structure that rhythm gives to our time-sense, and the pattern gives a sense of continuance. It becomes a motor attitude, and one's attention is freed (if this is desired). rhythms also become "mirrored" by our brain activity, and they have powerful physiological effects on us. Music Therapists have found that people suffering from Aphasia or Huntingdon's Chorea (both neurological disorders which impair speech) can carry a tune, and group singing is a common element in therapeutic voice training. Rhythms are everywhere around us, and group chants and songs reflect this fact and bring us towards an enhanced sense of participation in the world.


Raving & Drooling


Modern practitioners of shamanism may come to rely on a 'silver tongue' as much as sleight of hand or any other trick. The words we use, and their underlying message, can make or break any developing situation. Knowing how to speak, when to speak, and perhaps most importantly, when not to speak comes only with experience and practice, and of course, attention. Through our voices we can lull our clients into trance, laugh away the demons of despair, and shatter smug pomposity with the unexpected crude remark - profanities may be sacred in themselves, especially when you consider the comedian as sacred clown; the feared satirist or the impersonator of public figures. Our pagan heritage around the world abounds with lords of misrule and authority-parodying jesters. Humour is a powerful weapon, especially when directed against the rich, powerful, and the self-important.

Primal Poetry


Just for the purposes of discussion, I want to distinguish between 'ordinary' speaking and 'sacred' speech. Sacred speech, in this context, refers to those occasions when we are using speech (probably combined with other modes of display) to bring about a magical change - such as in inducing group trance, communing with spirits, being a horse, raising energy, and so on. At these times, the way in which we deliver speech is different from our usual habits of talking in that there may be an enhanced deliberateness in our enunciation, or greater care taken in projecting the subtle nuances of emotion - awe, ecstasy, gentleness or martial ardour. Whether our words well up, unbidden, from the Deep Mind, or have been carefully linked together in prolonged brainstorming sessions, it is highly likely that we will try and find a certain distinct rhythm around which to frame our words.

The Deep Mind often speaks to us in verse. Cross-cultural studies of the vocal patterns of people in the throes of possession show a striking similarity, that of a rising and falling intonation at the end of each phrase, with each phrase punctuated by a pause or groan. This pattern emerges regardless of native language and cultural background. The English version of this rhythm is known as Iambic Pentameter. You can hear it also in the frenzied oratorical deliveries of evangelical preachers and in the apparently meaningless gush of words and phrases from those who have been seized by the 'Holy Spirit'. It wells forth from the Deep Mind as unconscious or deity-inspired poetry & communications. People who are overshadowed by a deity during ritual often seem to stumble over their words, as though they are trying to fit their words around the rhythms of the trance. I would conjecture that the more complete the spirit-possession, the less laboured the sacred speech, as the persons self-awareness' will be all the more completely submerged by that of the entity.

As the Deep Mind calls to us with a particular rhythm and meter, so do we attempt to call into the depths of our being by rhythmically pulsing our speech. Sound, like light, sets up rhythms in our brains, as experiments with electro-encephalographs (EEGs) have shown. These internal rhythms reflect the sounds which propel us into varying degrees of trance, whether it is the gentle, watery lapping of the Moon or the thundering frenzy of Pan. If we are caught off-guard, and susceptible, their effect can be devastating. J.F. Hurley, in his book, "Sorcery", describes a trance condition known in the Philippines as Lata, which is brought on by a startling sound, after which susceptible people will imitate actions that they see or words that they hear. Philippino head-hunters took advantage of this susceptibility by paralysing their victims by using sharp, piercing cries.

This sort of talent appears in many cultures and settings. Pat Crowther, writing in her book "Lid Off The Cauldron", mentions 'calls' which, when used in open spaces, can draw the unwary to the caller. Forcefully projected, stattaco hissing noises, reinforced by jerking body movements, can also precipitate trance. Peter Redgrove, in his short novel, "The God of Glass", makes use of the syllable SATATATAT, which, when chanted, at the same time as whirling around, produces in its initiates a disassociation, which culminates in a bee-hum - the Om of ultimate being.

Mantra -Sound carrying Thought

The term mantra should be familiar to most readers. It is usually associated with sounds or words that when spoken or sung, evoke a particular magical power or energy. Two of the best-known mantras are AUM or Om, The term mantra is derived from the sanskrit root "man", which means, 'to think'. Thus the uttered sound is merely an aid to the focusing and direction of thought, and initiates of Tantrika regard the different types of mantra as vehicles for articulating spiritual energy as sound. For example, there are 'seed' mantras such as Hrim, Krim and Srim. which represents the quintessence of the power of particular deities; there are also mantras which are based on texts, and have symbolic, rather than literal meanings, and, as in most cultures, spells and mnemonic formula. In tantrik ritual, or Puja, the seed mantras are pronounced from the diaphragm, the throat, rolled around the tongue and finally closed off with the nasal sound "m". Mantras may be uttered 'in silence', as it were, and be none the less effective. Similarly, Cherokee shaman songs may be sung or thought, and remain effective. According to one medicine man, the same song could be used for 'every purpose there is', adding that it is 'the intention of the heart, and the knowledge, that really count.' In techniques such as japas (recitation), the practitioner repeats a sound or phrase repeatedly, moving eventually from spoken speech to 'silent' speech. The original words may degenerate into a meaningless mush, but again, it is the rhythm which whirls the practitioner's brain towards ecstasy recognisable by the perception that it is no longer you who chants, but that the chant chants itself through you Again, don't take my word for it, have a go yourself. You don't have to use a phrase which necessarily has any 'mystical' significance - it's the rhythm & momentum that's important try it with 'My Mum's Monkey Makes Many Mistakes' for about half an hour a day for a few weeks, and see where it takes you.

Babblogues


Another approach to the power of speech is to use 'meaningless' speech -nonsense words, baby-noises, hisses and bellows. In group work, this sort of exercise can be used to bring across the importance of tone and pitch in conveying a message. It also illustrates just how word-dependent we are. Take words away and we have to explore other forms of communication. By screaming and howling we can release tension and create startling atmospheric effects in a situation. Even heavy breathing and panting can be effective, as can imitating animal calls.

Faces & Sounds

An exercise that Sheila Broun & I used in our Shamanic Development Course consisted of encouraging members to make of their face a 'mask' of extreme emotion -rage, fear, hate, happiness, and then to forcefully vocalise the pure noise that they associated with that face. The results were startling - the sounds seemed to magnify the effect of the faces and, strangely enough, it was the 'happy' sound that people found disturbing.

Sound Projection


A well-known magical voice technique involve the steady projection of sound, towards a point in front of you. It can involve pure tones, or mantras. One exercise is to forcefully project the sound so that you imagine your body shaking; then the room or space where you are shakes; then the world, and finally the whole universe - by which time, you should be sweating. It's good to practice this exercise standing on a high peak overlooking a landscape, or atop a multi-storey building overlooking a city. Eventually, as in the mantra exercise given above, you feel that the sound is coming through, rather than from you. Needless to say, a group of people doing this kind of exercise in synchronised voice can produce interesting results. Like most ways of raising energy, the more effort you put in, the more is generated.

Sound carries feedback. Some sex therapists, for example, teach their clients the value of vocalising their excitement during sex - it's a valuable source of feedback & encouragement. The change in voice patterns mentioned above with regard to ritual trance works in a similar way. Hearing someone's voice patterns change as they are overshadowed by a spirit heightens other people's state of awareness as well. Hearing one's own voice change can aid or impede relaxation, which is crucial for successful delivery of a speech, for example. Anyone who's ever spoken in public should know this. When you are nervous, your voice pitch rises, and you talk faster 'n' faster, until the words are tripping over each other in their hurry to get off your tongue. Alternatively, your flow becomes broken up into a succession of er...er..um, well let me see, and so on. Trainers say that if you can manage to keep the illusion that you are relaxed, calm and confident for the first two minutes, then you will become confident. The trick is stopping your body going into 'escape' mode and deliberately pacing your voice, among other tricks. (I'll be looking at this in more detail in part three, which looks at Invocation).

You can learn a great deal about the power of speech from people who use their voices to forcefully project their personalities onto the audience. It can be useful to watch someone, for example, Ben Elton, Margaret Thatcher, or Billy Graham (Ok - so pick your own examples) on television, then watch them with the sound off, and then listen to them with the picture blanked out, paying close attention to how they pace and pitch their voices. Performers, be they political or entertainers, often slightly exaggerate different emotional tones, in the same way that gestures and eye contact is overemphasised.

Voice and Status


Another powerful use of the voice is how we project Status to each other in a situation. In all situations, we accord each other status, not only on the basis of visual cues, such as dress, bearing, etc, but also upon the basis of speech inflections, and how we adress each other. Such transactions go on all the time, but we only tend to notice them when they go wrong in some way. Sociologists say that we unconsciously collude with each other to maintain status transactions. Obvious ones are Teacher-Pupil, Master-Slave, Guru-Chela, Healer-Client. The problem is that we tend to get stuck in either a high-status or a low-status mode, when it would be better to adapt our status position according to the situation. This happens a lot for example, with people who professionally advise others - such as doctors, tarot readers and so forth. Having been given a high status role in transactions, they often find it difficult to 'get off their high horses'; not from any conscious intention, but because they're not aware of the problem. One of my favourite memories of status manipulation comes from a friend who did a great deal of work on the telephone, in a management role in a large hospital. I used to sit fascinated, as he rang up people at different levels of the hospital hierarchy, and by subtle inflection - negotiated favours with superiors, and implanted suggestions into the heads of subordinates. Status games get everywhere. It's been observed that anyone who marches confidently into our local unemployment benefit office, head held high, whistling and generally exuding a sense of well-being (in other words, playing high status), is going to attract unwelcome attention. On the other hand, slinking in looking decidedly dejected, crushed and pathetically grateful for your allowance will tend to ensure that you'll go unnoticed. The system is geared up for dealing with people who rattle the bars and snarl, and what it doesn't expect is people who go out of their way to be as nice and polite and helpful as possible, without actually bending under pressure.

Our understanding of status and status games is another clue to developing shamanic technique. After all, one of the most celebrated shamanic roles is the fool or sacred clown, who is allowed to mock or satirise the social order. A voice-related game is known as Gurus & Chelas. Here, people pair up and adopt spiritual teacher vs pupil roles. The 'teacher' is allowed to spout complete nonsense for a few minutes, while the pupil hangs on their every word, full of respectful awe and tentative questions. The roles should then be swapped, and then people's experiences discussed. For further discussion, the exercise can be replayed using non-meaningful vocalisations.

Invocations

Invocation is a battery of magical techniques which, when used, allow the individual to identify with a particular entity so passionately, that some quality or attribution associated with that entity manifests in the person -such as enhanced oracular perception or knowledge of 'hidden lore'. While this ability may be developed by anyone who practises magick, most people don't do it, and thus a shamanic practitioner may be asked to act as the incarnation of a particular entity as part of an event - or to bring about a similar experience in another person - 'invoking upon someone', as it is known. An extreme degree of this type of trance is possession, which, while quite common in shamanic cultures, is rarely found in modern approaches to ritual. It is not uncommon, for example, for a Voudoun Houngan or Mambo to search out 'hidden lore' (i.e. knowledge) by allowing themselves to be 'ridden' by entities (known as Loa) who speak through them, providing the answer. More common, in our culture, is the phenomena of overshadowing, where the individual's awareness is partially submerged in that of the entity. This also happens to actors, who sometimes find that, while playing a particular role, become so identified with that role that they, while on stage, can perform tasks - such as singing or dancing -that are associated with the character, but that they themselves are not usually able to do. This is no different from magical invocation, and the techniques involved are virtually the same - visualisation, speech, gestures, posture, and other senses - particularly smell for example, with regard to incense or essential oils. For the moment, though, I'm going to concentrate on voice technique .

Dramatic Awareness


I use this term to emphasise the parallel already drawn between ritual and stage performance. Together, the performers and audience of a masque or play can build up an atmosphere which can be felt by all present. The audience listen to what is happening onstage, empathise and react. This reaction is communicated to the actors, which in turn affects their performance. Thus an atmosphere of "Dramatic Awareness" - a shifting of awareness towards the mythic arena of experience - can quickly be generated. If the audience is familiar with the myths or struggles being displayed onstage, then the experience may be cathartic for all concerned. This is particularly important with regard to voice -if you can successfully use your voice to project emotional tones -such as awe, reverence or passion then those listening; both yourself and others, will pick up on the emotive undertones and become drawn into the atmosphere you are generating. I've noticed that as people enter different stages of trance, their voice pattern changes. Others present pick up on this, if only unconsciously, and so the atmosphere of dramatic awareness is generated. In a ritual sequence, all speech can be used to project appropriate feelings which generate the group atmosphere. This is performed best when the people speaking are confident and relaxed about what they are saying. Hence the problem with (a) reading from textbooks and (b) using very long speeches. If possible, I prefer to either learn a speech so that I don't need to look at bits of paper, which tends to be bothersome - especially when reading someone else's writing in a dark room or wind-swept moor; or improvise something at the spur of the moment. Like all practical techniques, being able to do this is simply a matter of practice and confidence. Unless you are doing something that is particularly stylised, simplicity is usually the most effective approach.

Delivery

The way we speak is a powerful way of projecting our intentions. The "delivery" of a speech quickly transmits to both self and audience ones degree of confidence. A fine invocation may be written, but can quickly be rendered ineffective if it is read out in a deadpan voice and punctuated by ...ers and ...ums. Words can be paced, so that speech can excite or relax the listener - which can be oneself or others. A good delivery of an invocation serves to raise dramatic awareness in both self and others. If you think of it in terms of a feedback loop, then the more enthralling the speech, the more intense the degree of dramatic awareness, and the more people will become 'caught up' into the ritual atmosphere. When one person, for example, is performing an invocation, others present may temporarily become the 'audience' - and participants can shift between active and passive involvement throughout a ritual. The key to remember is that, if such be your intent, then everything that happens inside the ritual space can be used to enhance the atmosphere. Try exploring the effect of pacing your speech, deliberately breathing louder, and, when reaching the climax of the invocation - becoming breathless and adding a bit of tremble. You don't have to shout to be effective - a whisper or can be just as effective (if not more so) than a loud voice.

Structure and Rhythm


An invocation to a particular figure is often based on a resume of the qualities and energies associated with them, or referring to legends or deeds associated with them. The rhythm given to words when delivering an invocation can quickly generate appropriate moods in those using or hearing them. An invocation to Pan, for example, might have a fast and frenetic rhythm which leaves the speaker breathless, bringing to mind the wildness of Pan; whilst an invocation to Cronus, God of Time might be slow and ponderous. Remember, rhythms are known to have distinct physiological effects, serving to relax or stimulate breathing and heartbeat.

You can create a powerful effect by stressing the same syllables throughout the entire piece, or by repeating certain words or phrases -particularly keywords that are appropriate to the subject of the invocation. Simple rhythms and jingles can be very effective, as they are easily learnt and can be repeated over and over, becoming mantra-like. Many folk-spells are of this nature. William S. Burroughs quotes such a spell in his "The Place of Dead Roads":

Trip and Stumble, Slip and Fall, Down the Stairs ... And hit the wall!

There are different approaches to structuring invocations, and one popular approach is to structure the invocation into 3 parts. The first part is a description of the physical attributes of the Mythic figure being invoked and is spoken in the third person; the second is a commemoration of the deeds and powers of the figure, and is given in the second person; in the third part, the person invoking asserts the merging of self with the figure, and speaks in the first person. Thus, as the speech proceeds, you are moving from a position of describing that figure as a separate being, and becoming identified with that figure to the extent that you (for all ritual intents and purposes) become that figure. Following which, for the rest of the group, you are the earthly avatar of a Mythic figure. Having taken on the role, you can now act, using the power & attributes of that figure, which can range from delivering an oracular speech to leading a frenzied dance. In the western mystery tradition (such as it is), it is usual for one person to act as vessel or channel for a mythic figure, and other participants to take on the role of celebrants (or congregation). However, in other cultures, it is not unknown for several people at once to become 'possessed' by the same deity. In Haiti, there was once a celebrated case of about 300 people, all possessed simultaneously by the God Legba, who marched in protest of the political situation to the presidential residence!
See other Book Publications by Phil Hine
In western magick, people tend to stick to one approach - usually what they've been taught in a group or coven. This is often a pity, because there are often good alternatives to be found in, for example, the study of drama or oratory. Status shifts also ocuurr in invocations, as noted by Aleister Crowley in his excellent essay on Bhakti Yoga, Liber Astarte. During a vocal invocation, you might begin with the status position of a supplicant reaching up to a deity, and eventually act with the status of that deity, whilst others will (or should) regard you appropriately. This often leads to a confusion of roles, as some people find it hard to distinguish between the role someone might take within a ritual setting, and how they behave outside of it. Someone who becomes, within a ritual a goddess, should not be treated like one in the pub afterwards!

Hence the prime danger in identifying ones self with Mythic figures is one of blowing up one's ego to massive proportions. If you continually identify with a figure who reinforces some idea which you have about yourself, all you will do is imbalance yourself towards those particular tendencies. I have known at least three people become quite seriously disturbed because they worked exclusively with lunar, oracular figures who accentuated their already-present tendency to slip into passive, oracular trance states. As in all practices, an understanding and continual assessment of one's self in terms of strengths, weaknesses, and ego-identifications is necessary - especially if you are working with others in a teaching or 'group leader' role.

I think it's fair to say that the more you put into an invocation, the more intense the effect will be. There are more elements to consider, such as the use of gestures to reinforce speech; the use of lighting and props; smell, taste, music and stage-setting. Of course the absence of speech can be as equally effective, as can be the use of grunts, howls and cackles. Having an infectious laugh can be a very useful skill, as well - you can literally laugh your way out of some situations - the anti-hero Thomas Covenant the unbeliever defeated his enemy Lord Foul by encouraging an assembly of shades to laugh at him until he withered away. Humour is an important element of ritual, which is often neglected by some of the ever-so-serious people one runs into occasionally.

One approach to experimenting with invocations is to assemble a variety of speeches written by other people and try reading them aloud until you hit on a delivery that feels effective. It can be useful to tape such experiments, and even use them as background effects in ritual work. Using appropriate music can also be very productive. While it's useful to look at other people's written invocations - so you can grasp the way that structure and rhythm can evolve through the way lines are delivered, it's generally considered better to use your own attempts at invocation. Not only does this build confidence and give you a good 'feel' for what works and what doesn't, but it allows you to build up a close 'contact' with the figure you are identifying with. Generally, it's easier to invoke humanic figures than non-human ones. Using the same principles as an approach to shape-shifting, it would be appropriate for you to observe a particular animal - look at it's characteristic postures, facial expression, its' vocalisations, and characteristic behaviours. You would become the animal by close identification with its characteristics. The intensity of trance would probably very much depend on the degree of abandonment that you allowed yourself to have.
See other Book Publications by Phil Hine
*Versions of this essay have appeared in both Moonshine magazine and Chaos International.

Friday, November 28, 2008

Where Crowley went wrong


What caused such a great and genial Magician such as Aleister Crowley have to Die

lonely and sick in a pansion house in Hastings?
What was wrong with his Magick?, his knowledge?

He didn't detach himself from his sangkhara - he didnt observe how the 5 khandas were his lord and master, not his will, as he had always thought.
The practise of Magick without fulfilling the first Adage of the Magician ("Seek and Ye shall find - but first Man, Know Thyself!"), leads to inevitable suffering. Ponder on what the meaning of the words "Know Yourself" mean.
Learn what is Self and Non-Self, Atta and Anatta - consider the five Khandas and our relationship to the perception of these and the 5 senses (or more if you are blessed/cursed enough to posess such abilities/perceptual filters). Consider them and find your true wishes, and vocation - this is your true will.
Once found - take your true will and apply it to the eight paths that are one.
Eight blends into one, which is in turn, nothing.

Dedicated to Zero the Hero

Thursday, November 27, 2008

Abstention and Renunciation

If one Abstains from, or Renounces something whilst still needing it, or having some kind of attachment to it, one suffers - This is not a middle path, and therefore leads to extreme results, ending in pain or suffering.
The Middle way is to be Gentle with oneself; When not, anger arises. We have to treat ourselves Gently, but not with Selfishness....
This in mind, Train yourself in Abstention, Renunciuation and Gentleness, With Gentleness - and learn the liberation that is to be found in Non-Attachment to needs exterior to One

Wednesday, November 12, 2008

The Dweller on the Threshold

A paper tiger? or a demon Sentry who guards the gate to the subconscious self and the veil of illusions.
Who is the guardian at the gate? what lies behind that elusive Threshold of power and dreams? fears and hopes? Immortality in the freedom from all Fears (of death, destituteness).
What is the Threshold? an Astral gate? the Rainbow Bridge between the watcher and the thinker? the fusion of all opposites and the endlessly retorting voices of possibility and impossibility in a never ending co - supportive denial of the other's rhetoric?

Leave all tendencies to Name the objects of your perceptions, and see a thing for what it is not, for this is the way to see things indeed. With the eyes of a Child, you must learn how to see.

I wish to recount a tale of my encounters with the Dweller on the Threshold in my early 20s; at this time, i was severely involved with the Occult, especially the teachings and works of Solomon and also of Aleister Crowley, the Rosicrucians and the schools of thought taught by Dione Fortune and Alice Bailey.

In the course of my practises, i encountered the Threshold of the mind and ceme into contact with my aintimatter self - the Dweller on the Threshold.
This self is not only a dark and malevolent seeming entity, buts (and this is much less commented in documented text), rather, can also assume a benevolent and inviting aspect that beckons to cross the threshold and enter a paradise that knows no suffering.
This is the grand question, and the reason i never entered more than a few times before becoming afraid and meeting only the malevolent guardian of that elusive place, known as the Threshold.
The projection of this Dweller was approaching my soul with ever nearing stamping feet - marching with the terrible sound of a herd of elephants. What was more fearful than anything was the fact that the Dweller seemed somehow familiar, a nagging thought began to prevale in my mind. "I've seen his face before somewhere" i think to myself - "where have i seen him? before".
As the thought arises, the answer becomes clear in my mind; "This Dweller is Anger, and is a distortion of my own face", i thought - "Let you be recognized oh Anger - guardian of the gate to compassion preventing the evil from entering.
The portal is thus a series of dwellers thrown at me, one after the other, and i spend my time recognizing the name and nature of each dweller and annihilate them one by one, using that very recognition as my weapon to smite them with.
Jealousy, The 7 Sons of belial and mistrust - all these did i smite with my weapon of truth - that there is no one outside the mind - the illusion of self permits not that we be an inhabitant of the house of the Great Architect. To this, the Earth Bore witness to the truth of a Great Lord - and the House Builder was thwarted in the face of his merciless tempest of his illusions.

Wikipedia definition;
The Dweller on the Threshold refers to an invisible malevolent entity that attaches to a human being. The term was first used by Bulwer-Lytton in his novel Zanoni.

In theosophical literature, Helena P. Blavatsky affirms that the Dweller is not a fictitious entity. It is the discarded astral double of an individual in a previous life that may not have fully disintegrated yet when that individual is reborn. Thus the dweller will be drawn to the new incarnated personality due to their affinity. Sometimes this entity is also called Guardian of the Threshold.

Another explanation is that provided by Alice Bailey on Esoteric astrology, "From ancient recesses of the memory, from a deeply rooted past, which is definitely recalled, and from the racial and the individual subconscious (or founded and established thought reservoirs and desires, inherited and inherent) there emerges from individual past lives and experience, that which is the sumtotal of all instinctual tendencies, of all inherited glamours, and of all phases of wrong mental attitudes; to these, (as they constitute a blended whole) we give the name of the Dweller on the Threshold. This Dweller is the sumtotal of all the personality characteristics which have remained unconquered and unsubtle, and which must be finally overcome before initiation can be taken. Each life sees some progress made; some personality defects straightened out, and some real advance effected. But the unconquered residue, and the ancient liabilities are numerous, and excessively potent, and - when the soul contact's adequately established - there eventuates a life wherein the highly developed and powerful personality becomes, in itself, the Dweller on the Threshold. Then the Angel of the Presence and the Dweller stand face to face, and something must then be done. Eventually, the light of the personal self fades out and wanes in the blaze of glory which emanates from the Angel. Then the greater glory obliterates the lesser. This is, however, only possible when the personality eagerly enters into this relation with the Angel, recognises itself as the Dweller, and - as a disciple - begins the battle between the pairs of opposites, and enters into the tests of Scorpio. These tests and trials are ever self-initiated; the disciple puts himself into the positive or conditioning environment wherein the trials and the discipline are unavoidable and inevitable. When the mind has reached a relatively high stage of development, the memory aspect is evoked in a new and conscious manner, and then every latent predisposition, every racial and national instinct, every unconquered situation, and every controlling fault, rises to the surface of consciousness, and then - the fight is on.


"Two factors tend to bring this about: the slow moving forward of the innate conscience into greater control, and the steady development of the 'fiery aspiration' to which Patanjali (The Light of the Soul, Book II, Sutra I, Page 119) makes reference. These two factors, when brought into living activity, bring the disciple into the center of the burning ground which separates the Angel of the Presence from the Dweller on the Threshold. The burning ground is found upon the threshold of every new advance, until the third initiation has been taken." - The Rays and the Initiations, Alice Bailey

It is interesting in this light that Hugh Shearman in a rather interesting article draws a colleration between the dweller and the mythical dragon that hides some kind of aspirational figure, like a beauty, an imprisoned princess or even a hidden treasure. He goes on to suggest that the dweller is some kind of vanity, spiritual or otherwise, that precedes a fall. This view perhaps minimises the import of the dweller and its impact upon the disciple approaching the gate of initiation.

Nevertheless the Dweller on the Threshold is seen in contrast to the Solar Angel, both of which need to be cast aside for the disciple to walk through the gate of initiation. It is said that the dweller arrives at full potency prior to taking the third initiation. this makes sense as it is in the third initiation that the disciple enters into life and also overcomes illusion.

According to Bailey, triumph over the dweller leads to initiation, or an entry into a greater measure of life. This is referred to as lifting the first veil.



The Shadow

This is analogous to Carl Jung's idea of the shadow. In Analytical psychology the purpose of Shadow work is individuation. The parallels to initiation being the result of overcoming the dweller on the threshold are obvious. Where Jungian work doesn't look however is at the angel of the presence. The disciple needing to walk between both the dweller and the angel needs to equally confront his aspirations as well as the unconscious repressions.

The term "Dweller on the Threshold" is also spoken of in the seminal TV show, Twin Peaks, towards the conclusion of the series. It is mentioned in the context of discussion relating to the "black lodge" and the "white lodge". Particularly, the character Hawk in Twin Peaks Season 2, refers to the Dweller on the Threshold when discussing the inhabitants of the black lodge.



Astrological Indications

Astrologer Liz Greene, in "Saturn a New Look at an Old Devil", offers her opinion that Saturn rules the dweller on the threshold experience. Alice Bailey in Esoteric Astrology suggests that Mars and Saturn are involved in the third initiation, the initiation where illusion is finally overcome.

The three signs that are said to deal with the fusion of the dweller and the angel of the presence are Scorpio, Capricorn and Sagittarius. Scorpio is particularly interesting in this light for a couple of reasons. Firstly Scorpio is related to Sirius and secondly it is ruled by Mars esoterically and exoterically. Scorpio governs the disciple for the first, second and third initiations. So it makes sense to look to Scorpio to get some insight into dealing with the dweller.

Quotes;
Innerlight.Org
Here Dion Fortune achieves a striking finish when a budding occultist, who is also a singularly nasty piece of work, at his own presumptuous request has his psychic faculties prematurely opened for him by Dr. Taverner. He is immediately confronted with the horrifying vision of the shadow side of his own soul, which Taverner casually refers to as the Guardian of the Threshold. As a result, the man runs screaming into the night although the story omits to say whether it was "a dark and stormy" one! And fortunately, it has to be said, this is not the usual result of an esoteric initiation.

The Dweller on the Threshold - by Van Morrison

I'm a dweller on the threshold
And I'm waiting at the door
And I'm standing in the darkness
I don't want to wait no more

I have seen without perceiving
I have been another man
Let me pierce the realm of glamour
So I know just what I am

I'm a dweller on the threshold
And I'm waiting at the door
And I'm standing in the darkness
I don't want to wait no more

Feel the angel of the present
In the mighty crystal fire
Lift me up consume my darkness
Let me travel even higher

I'm a dweller on the threshold
As I cross the burning ground
Let me go down to the water
Watch the great illusion drown

I'm a dweller on the threshold
And I'm waiting at the door
And I'm standing in the darkness
I don't want to wait no more

I'm gonna turn and face the music
The music of the spheres
Lift me up consume my darkness
When the midnight disappears

I will walk out of the darkness
And I'll walk into the light
And I'll sing the song of ages
And the dawn will end the night

I'm a dweller on the threshold
And I'm waiting at the door
And I'm standing in the darkness
I don't want to wait no more

I'm a dweller on the threshold
And I cross some burning ground
And I'll go down to the water
Let the great illusion drown

I'm a dweller on the threshold
And I'm waiting at the door
And I'm standing in the darkness
I don't want to wait no more

I'm a dweller on the threshold
Dweller on the threshold
I'm a dweller on the threshold




Wednesday, October 8, 2008

This clip below is of Thai "hypnotist" Win He likes to seek our potential unknowing victims on the street and turn them into "living sculptures.


คลิป สะกดจิตคนให้เป็นรูปปั้น - romeo & juliet จาก Seedang.com


His method is unclear, due to the fact that he needs not to whisper in the ear of the subject ( a common technique used in hypnosis). The way he subdues the victim and the speed with which he acheives a result is worthy of study. This technique however, should not be abused, as Win does (he warns not his victime, rather subdues immediately on his first approach.
Watch how efficient he is.
Comin soon; Explanation of the hypnosis technique, and application methods. This method of hypnosis is not scientific, it is Occult. It is necessary to develop the ability to channel the will within ones own body, and transfer the energy through ones hand into the other person.
Win himself, is able to make his own heart stop.This reveals part of the nature of his power and technique.
Of course, it doesnt work always, as seen below. Some people have resistant minds.


คลิป สะกดจิตคนให้เป็นรูปปั้น - แต่อันนี้เล่นพลาด! จาก Seedang.com

Many people of course might find this young man to be a simple magic trick practitioner.. so let us observe a much older documentation from an old top secret KGB experiment in Prarapsychology and Telekinesis that was filmed.


คลิป พลังจิต สายลับ KGB แห่ง รัสเซีย ใช้ พลังจิต จาก Seedang.com

Whilst we are observing real telekinetic annd psychic abilities, lets also look at how impossible some of the showbiz Magic Tricksters' stunts seem to be. Below, World famous stuntman and magician, Criss Angel, being set on fire and after walking aorund in flames for the crowd and then falling to the floor to be extiguished by hos team of assistants, appears spraying himself as an assistant. How does he manage this trickwith scientific method?
The trick must lie in the smokescreen caused by the fire extiguishers as he falls to the floor. This artist has also walked on water and on air between two buildings inbroad daylight with no apperent visible way of supporting himself. This either proves that almost anything is simulable, or that he has real psychic powers and does not reveal it. Criss is forbidden from playing any lotteries or gambling.


คลิป มายากล Criss Angel เล่นกับไฟ จาก Seedang.com

If you are not squeamish the you can observe in the below clip of Criss Angel how a coin with a witness' signature is swallowed and transported through his body down his arm, to be removed from Crisses wrist after making an incision with a scalpel. A rather radical variation to the signed card trick.


คลิป มายากล Criss Angel กับกลเหรียญ จาก Seedang.com

Monday, October 6, 2008

Western Occultism is an extremely extensive foundation of Knowledge - let us not forget that most forms of Western Occultism are derived form ancien Eastern Philosophies and Practises.

One matter that tends to make Western Occult practise imperfect and unproductive to the development of the spirit and counsciousness towards becomeing a higher form of cosmic intelligence is due to two facts/principles;

1. Most goals for magickal practise are aimed at a physical or temporary result to increase ones wellbeing in this particular realm and incarnation.

2.The Practicant of Occultism does not understand his condition nor does he understand the nature of the forces he is attempting to control/direct

belwo is a formula from the Bhuddha which explains our condition and can be used as a tool to awaken e higher state of being that is betond the fetters of suffering as we know it in the human condition. It also serves to aid us in knowing what results/goals we may wish to attempt to manifest

The last words of the Buddha before dying were;

'Disciples, this I declare to you: All conditioned things are subject to disintegration - strive on untiringly for your liberation.' (Mahāparinibbāna Sutta)

The prayer to investigate the nature of our condition;

  • Sappae
    Sangkhaaraa Anijjaa
    (emotions rections and
    experiences are uncertain and impermanent)

  • Sappae
    Sangkhara Tugkhaa
    (all those aforementioned
    phenomena of feelings reactions and experiences are; mind, shape body
    and forms which have or bring suffering as their nature) [we suffer for
    the pleasant things when they are gone, and the unpleasant events wehen
    they arrive therefore pleasure, love psessions, our health our body our
    wife etc are suffering in the end] ]

  • Sappae
    Tammaa Anadtaa
    (all things in Nature
    [evrrything], is empty of a permanent self or quality [the "HOT" coals
    are eventually not hot anymore.. the "king of a country is eventually
    no longer king, the "empire" is eventually lost in the annals of
    history etc] no thing can be considered to be "that is me" or This is
    mine.. nothing has a permanent quality to it and is therefore
    impermanent/empty of permanent nature)

  • Atuwang
    Cheewitang
    (Life is uncertain [not
    forever])

  • Tuwang
    Maranang
    (Death is certain)

  • Awassang
    mayaa maridtapang
    (Our death is certain)

  • Maranabariyoesangmae
    Cheewitang
    (we must all meet with Death
    eventually)

  • Cheewitang
    Mae Aniyadtang
    (our Lives are uncertain in
    nature)

  • Maranang
    mae niyadtang
    (OUr deaths are definite and
    unavoidable)

  • Wadta
    (This should be taken notice of and thought about)

  • Ayang
    Gaayoe
    (0this body)

  • Ajirang
    (Is only here for a short time)

  • Ubedtawinyaanoe Chuttoe (as soon as it is without an
    inhabiting spirit and has been thrown away)

  • Atisedsati
    Batawing
    (it falls and lays on the floor)

  • Galingkarang
    iwa
    (like a log or bracken)

  • Niradthang
    (becoming a useless thing )

  • Anijjaa
    Wadta Sangkharaa
    (all "Sangkhara"
    [phenomaena such as emocions, feelings opinions reactions and
    experiences] are impermanent and transitory[everchanging])

  • Ubaatawayatamminoe
    ( they come into existence and fade away - such is their nature)

  • Dtaesang
    Wuubasamoe Sugkhoe
    (the extinguishing of
    such "sangkharas" [experiential phenomaena] is peace and bliss!)

  • Tugkhang
    Anijjang Anattaa
    (Sufferings are temporary
    and empty of permanence and any certain definite nature/qualities)

Saturday, September 27, 2008

Magick In Theory and Practise

Aleister Crowley (October 12, 1875 - December 1, 1947)

Magick in Theory and Practise.

Once again, another of Aleister Crowley's most Famous Grimoire comes to the Occult Magick Blog (after a spate of Illuminati and Extraterrestrial articles apparently obscuring the Occult Element of the blog (this is not really the case.. as the blog develops you will begin to notice the introduction of a Unifying theory that intends to bring all Scientific, Natural and Supernatural Phenomaena under one roof - The "Dharma" of the Buddha will be the instrument and the crucible to forge this Fusion, or Unification of the three "apparently" differing aspects).

For now, we shall peruse the extremely extensive (almost 300 pages) Grimoire of Frater Perdurabo (this was the Magickal name of Aleister Crowley).

About Aleister Crowley;

British Occultist Aleister Crowley, born under the Name; Edward Alexander Crowley, was perhaps the most enigmatic character of the first half of the 20th Century.
Occultist, writer, mountaineer, philosopher, poet, and mystic. He was an extremely influential member in sa number of occult organizations, and secret Societies. Including the Golden Dawn, the Ordo Templi Orientis (O.T.O.). Crowley was prbably best renowned for his occult writings, amongst which maybe the most well known are; The Book of the Law, The Book of Thoth, 777, and the central sacred text of Thelema. He gained much notoriety during his lifetime, and was infamously dubbed "The Wickedest Man In the World."



Crowley was a Master chess player, avid mountain climber, talented poet, painter, astrologer, hedonist, bisexual, drug addict, and social critic. Crowley had claimed to be a Freemason, but the regularity of his initiations with the United Grand Lodge of England has been disputed.





Do what thou wilt shall be the whole of the Law
MAGICK IN THEORY AND PRACTICE
by The Master Therion
Aleister Crowley - Based on the Castle Books edition of New York.





HYMN TO PAN
Epsilon-phi-rho-iota-xi epsilon-rho-omega-tau-iota pi-epsilon-rho-iota-alpha-rho-chi-eta-sigma delta alpha-nu-epsilon-pi-tau-omicron-mu-alpha-nu iota-omega
iota-omega pi-alpha-nu pi-alpha-nu
omega -pi-alpha-nu pi-alpha-nu alpha-lambda-iota-pi-lambda-alpha-gamma-chi-tau-epsilon,
chi-upsilon-lambda-lambda-alpha-nu-iota-alpha-sigma chi-iota-omicron-nu-omicron-chi-tau-upsilon-pi-omicron-iota pi-epsilon-tau-rho-alpha-iota-alpha-sigma alpha-pi-omicron
delta-epsilon-iota- rho-alpha-delta-omicron-sigma phi-alpha-nu-eta-theta,
omega theta-epsilon-omega-nu chi-omicron-rho-omicron-pi-omicron-iota
alpha-nu-alpha-xi


SOPH. AJ.
Thrill with lissome lust of the light,
O man! My man!
Come careering out of the night
Of Pan! Io Pan!
Io Pan! Io Pan! Come over the sea
From Sicily and from Arcady!
Roaming as Bacchus, with fauns and pards
And nymphs and satyrs for thy guards,
On a milk-white ass, come over the sea
To me, to me,



Come with Apollo in bridal dress
(Shepherdess and pythoness)
Come with Artemis, silken shod,
And wash thy white thigh, beautiful God,
In the moon of the woods, on the marble mount,
The dimpled dawn of the amber fount!
Dip the purple of passionate prayer
In the crimson shrine, the scarlet snare,
The soul that startles in eyes of blue {V}
To watch thy wantonness weeping through
The tangled grove, the gnarled bole
Of the living tree that is spirit and soul
And body and brain --- come over the sea,
(Io Pan! Io Pan!)
Devil or god, to me, to me,
My man! my man!
Come with trumpets sounding shrill
Over the hill!
Come with drums low muttering
From the spring!
Come with flute and come with pipe!
Am I not ripe?
I, who wait and writhe and wrestle
With air that hath no boughs to nestle
My body, weary of empty clasp,
Strong as a lion and sharp as an asp ---
Come, O come!
I am numb




With the lonely lust of devildom.
Thrust the sword through the galling fetter,
All-devourer, all-begetter;
Give me the sign of the Open Eye,
And the token erect of thorny thigh,
And the word of madness and mystery,
O Pan! Io Pan!
Io Pan! Io Pan Pan! Pan Pan! Pan,
I am a man:
Do as thou wilt, as a great god can,
O Pan! Io Pan!
Io Pan! Io Pan Pan! I am awake
in the grip of the snake.
The eagle slashes with beak and claw;
The gods withdraw:
The great beasts come, Io Pan! I am borne;

To death on the horn
Of the Unicorn.
I am Pan! Io Pan! Io Pan Pan! Pan! {VI}
I am thy mate, I am thy man,
Goat of thy flock, I am gold, I am god,
Flesh to thy bone, flower to thy rod.
With hoofs of steel I race on the rocks

Through solstice stubborn to equinox.
And I rave; and I rape and I rip and I rend
Everlasting, world without end,
Mannikin, maiden, Maenad, man,
In the might of Pan.
Io Pan! Io Pan Pan! Pan! Io Pan!


To be continued ( i write a bit each day)

8 times 8 So mote it be!!! ABRAHADABRA!!!


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Thursday, September 25, 2008


Ever think about how we would conceptualize things if we didnt' have any words or Languages?
I believe that there are 2 different possibilities to how one would percieve ones exterior reality
1. A being who was still unenlightened/unintelligent (nothing to do with language) - a primitive without language would just be almost as stupid as an animal, and think that a tv has people in it.
2. An aware , Enlightened/Intelligent Sapien being with no concept of language would probably have a much more direct experience of his percieved external and subtle reality as a sapient being that has the concept of language.




This is because of the not "Naming" of things.
The first time you walk down a street in a new city you see it the closest to how it really as as you will .. after that, every time you walk down it it becomes more and more "familiar" until you "think" you know it all. Actually the only time you ever really saw/looked at it wiht open eyes /mind/ears, was the first time

We have the picture of Angels all dressed in humanlike robes and human looking in our legends and art.
But do they really look like that?






http://www.youtube.com/watch?v=8n1GkaVmDVw

What is a Ufo? what were the massive orbs appearing and disappearing on the NASA Headquarters screen (confirmed officially)?

http://www.youtube.com/watch?v=As-wYmFYb3I

The "Ufos"/Angelic beings are attracted to the electrical storms on the atmosphere.. ut if we watch the video at the beginning the explain the 12 mile cors to also be a source of high electical charge.
Something to ponder



The Buddha Said that there are other lifeforms/humans on this world that we cant see - i think that angelic intelligences or Extraterestrials are the same thing in most cases - but that we dont define them properly (you cant define the real truth - as there is none) - they are what they are, as are we. Even the christian's god cleared that up with the phrase "i am what i am - alpha and omega"
Meaning you cannot name something accurately.

http://www.youtube.com/watch?v=CYMKR620i30






The reason i raise these matters apart from finding similarities in both the Buddhist explanation of the 6 realms and their inhabitants, and the fact (i believe) that we can experience all the states of the 6 worlds three levels of existence, and the three times right here right now on earth.
Also i have another reason which makes me believe in certain aspects of what we have been watching.
I have seen the orbs that appear in the latter part of the video. Something is strange especially if one studies astronomy and the ancient sumerian culture and their prophecies - the Mayan calendar also indicates some radical events which coincide with the same dates according to scientific astronomy.

it is interesting to note that the Mayan calendar (which is extremely accurate as far as predicting astronomical movements) ends on 12/12/2012
The Astronomical data we have in this day and age has let us deduce that the on the 21/12/2012, the sun will be aligned with the center of the galaxy for the first time in 60,000 years. I heard (i may be wrong) that a Buddha is born every 60 thousand years (or was it 6000??)
The numerology is also interesting that 12 12 2012 and 21 12 2012 are reverse and like as if in binary.
Ther is a theory that the Illuminati will finalize their control and manifestation of a completely digitalized society, and the binary code in the dates is their language of symbolism.
I believ that if this isnt all codwallop then we shall be having a mass enlightenment on a planetary scale (we should pray for that!), and that the earth will fold space into the 5th dimension (dusit?) or that mankind will become slaves of Mara .
The Pleadean theories state that we have 12 chakras (ther is the number 12 again and that binary number stuff), not seven. That the alien greys (Petas) have cut our dna strands to leave us with less than the usual amount in the helix, leaving us paralyzed to do more than perforem their chores (the greys feed from the energy of our hate and sadness and ecstasy etc - our sangkhara) so our chores are to wander in samsara.


What are the rods
Te rods in the clips below are an upsurging phenomaenon - ever more evidence is being documented. The sceptics say that Cameras sometimes record false information.



The next clip gives plenty of evidence with some interview with an ex NASA Airbrusher.
It is a rather amazing documentary - with film evidence from the nasa mission with a swarm of Unidentified Flying Objects - the cord used is electromagnetinc, the UFOs are attracted to it, as they are to the electrical storms on the earths atmosphere.







http://www.youtube.com/watch?v=ndzFhcJ_gDw

Saturday, August 30, 2008

Gunstopper Spell (Thai Kata)

In Thai a Kata is a kind of "Mantra" or spell. SDome are tattooed, some are chanted and cast.
This one is a gunstopper and invincibility spell
You must say "Na Moe Dtassa Pakawadtoe arahadtoe sammaasamputtassa" 3 times before any of these spells in Thai are cast.
Incense (3, 5 or 9 sticks) should be lit, yellow candles or white candles.
water in a clean container (2) fruits and sweetmeats.
chant namoe 3 tmes and then begin this kata;

Wut Laelae Balaeyyandti Chern Kroo Batiyaay gammasit ma yoo gab look duay Na Moe Puttaaya ma A U Madtiyaa Badtipaawaenhaganha Mae Pra Toranee Dtern Laew Rueyang Sankhaadtang Loegangawitoo Putang Ad Tamang Ad Sangkang Ad Ad Duay namoeputtaaya Ud Duay namoeputtaaya Bad Duay namoeputtaaya Puttang Ad Ad Idjibisaegki Utang Atoe Moe Ud Ad duay namoeputtaaya Puttang Ad na Bid Uttang Una Ud Tawaarang Uttoe Toe ud Ad duay Namoeputtaaya Ma A U Ammagueggag

Hin Phaa Hag Yoo Bon Hua Goo Hua Goo man baan gampaeng Paetchr

Hlek petchr hlaenhlaaw taeng goo bo mikhao saam sib sorng grabong hwaay Kaa goo gor midtaay - sib grabong hwaay dtee goo midtaek amma sitti taewa sawaaha sawaahoem dtid namaewaja Puttang Aawm Tammang Lorm Sangkang Ud Homlorm Puttoe Namoeputtaaya Namoe Namae Na Aagaanupaawaena badtisaesoe Na Moe Put Taa Ya Ya taa Put Moe Na

Thursday, August 28, 2008

The Rise of the Illuminati

Who are the Illuminati?
Many people have their theories, many their beliefs, some of us (humans) know. The Illuminati are real and still present in the wheels of Justice, Industry and War.
Government Parliamentary memberships of the Illuminati are estimated to be above 80 percent of the world's governments to be Infiltrated. Financed and funded by Multinational concerns (as are the Political campaigns of all candidates for Presidenture), which in turn control the governments whose members' careers were financed by them.



The Central World Bank and the Rockefellers, along with the Alien insurgence and the introduction of the RfId chip in the Post World Trade age of terror indicates a massive advance in the move the Illuminati are making to control our world and the Human Race itself seems destined to become enslaved to a new digitally controlled society, where all are controlled with no right to personal privacy as far as location and personal data is concerned..

Here is a clip for those who need a small introduction into the Illuminati... I shall continue after we have watched it.
Illuminati Mini Documentary




"The seal of the pyramid was created by the Rothschild family and brought to North America by Benjamin Franklin and Alexander Hamilton before 1776. The Rothschild family is the head of the organization in which I entered in Colorado. All the Occult Brotherhoods are part of it. It is a Lucifer Organization to install his reign in the whole world. The eye on the pyramid is the eye of Lucifer. Supposedly the Rothschilds have personal dealings with the Devil. I have personally been in his villa and have experienced it. And I know it is true",
John Todd, Masonic Council of Thirteen



I shall be adding to this post over the next few days as this is going to be a long document.

"The world is a dangerous place to live; not because of the people who are evil, but because of the people who don't do anything about it."
Albert Einstein

"Our lives begin to end the day we become silent about things that matter"
Martin Luther King

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