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The Little Book of Alchemy, Pharmaceuticals and other useful spells... an Advanced Guide to Chaos Magick edition iii by Neil Nieuwoudt Copyright 2016 By Order of the Dead Bunny Magpi Ink

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Crowley endeavoured to use the scientific method to study spiritual experiences, making "The Method of Science, the Aim of Religion" the catchphrase of his magazine The Equinox. By this he meant that religious experiences should not be taken at face value, but critiqued and experimented with in order to arrive at their underlying mystical or neurological meaning. "[. . .] I was anxious to prove that spiritual progress did not depend on religious or moral codes, but was like any other science. Magick would yield its secrets to the infidel and the libertine, just as one does not have to be a churchwarden in order to discover a new kind of orchid. There are, of course, certain virtues necessary to the Magician; but they are of the same order as those which make a successful chemist." The word "magick" above does not refer to any sort of supernatural practice. Crowley defined magick as "the Science and Art of causing Change to occur in conformity with Will." He goes on further to state: "Magick is the Science of understanding oneself and one's conditions. It is the Art of applying that understanding in action." As such, the practice of magick does not require a belief in supernatural phenomena. While some Thelemites may interpret spiritual experiences in this way, many see magick as being purely psychological in nature. Magical practice uses ceremonies that employ myth, symbols, and archetypes to cause changes in one's life through communication with the subconscious mind. Ordo Templi Orientis and A.'.A.'.

i n v i t a m mort e m


dai e taicyw nuos aiislpnso

a vast arcane mystical invisible library


“Take the grey wolf, the child of Saturn and throw him the body of the King. And when he has swallowed him, build a big fire and throw the Wolf into it, so that he burns up, ad then the King would be liberated again.� (Basil Valentine, Twelve Keys)

By the full moon and the light of my Lives I will return in the form of the Beast, the Wolf, to correct the Balance




magick and alchemy both being such vast and complex subjects the linear approach and expression of its precepts and constructs can be very misleading and nearly an impossible task... 3


4 --

read me yo ture and i will





sigils... and uses therof

In medieval ceremonial magic, the term sigil was used to refer to occult signs which represented var and demons which the magician might summon. Th training books called grimoires often listed pages of s

commonly rious angels The magical such sigils.

Common to the various systems/traditions/paradigms of Magick are certain key concepts. We urge the reader not to accept/reject these as theoretical constructs, but to try and verify them by personal experience. 1. The Whole is encoded within each of its constituents "As above, so below." 2. The Whole is interconnected, and all relative wholes partake in consciousness to varying degrees. 3. The Whole is self-organizing, and the evolution of all forms is governed by similar principles. 4. By means of a trained and directed will, we can effect change (probability > possibility) at various levels of organization. 5. Change is the only constant! 6. The Whole is more than the sum of its parts 7. Our beliefs define the limits of our allowed experience 8. "Everyday Reality" is not the limit of our experience by entering Altered States of Consciousness we can experience other realities. 9. The entities which may be encountered during our experience of those other realities are real within their own world. To question their relative existence is unimportant, since the universe behaves as if they do exist. 10. Magical ability is engendered through an inward, transformative journey.

bridges to other worlds... the imagination

The Mind can travers great distances and cover much Everything Without is Within ...

t v pi no dGo .riSeSe htfes nBaotAEeeo ESe e e HhhhSeT ear rv w ds n fTheS e .i r td h TdahSeA ha:oh nin:lh eetend fot e ae f atagdeahh omae to rd W uufe :oo anetehhelanA APf dto s ht: al aa a :a a f o SuM a: e nV fo t doroetrh f hdyhe eaa S o aiop netnd e ftLh d-n h .re edSm t a ieenrt l ti hlt Hes a esiheta ;hn resnvo onne oit oi - Fa ht rssatnuhi Rg hhhs e oen pttlieSneTe ooi h eio leu iTn:Ift f o th epr bgd naaSn ts emT fs h Se sem w ha. thihalo thnm H r d a WeUet.o hhsetg dnesnn maiihitLadmsrttH i t rrffiOu a uhnurye o d o ts ;ih toL emecb tN o; bm rNamaaebN u d s oeuimWr nr n fH e Hnfd A e y riit Faundad n x nS d.

GNOSIS Gnosis is the key to magical abilities - the achievement of an intense state of consciousness known in various traditions as No-Mind, One-Pointedness, or Sartori. Awareness is emptied of all information except the object/subject of concentration. Various methods of achieving gnosis can be resorted to, from frenzied dancing to the rapt contemplation of an idea. Whatever method is chosen, the practitioner continues it until s/he is taken into Ecstasy. Reaching gnosis can result, for the religiously-oriented, in 'mystical experiences' - visitations by Gods, Demons, or the revealing of Divine Truths. For the magician however, the contents of such an experience are less interesting than what can be done with it - it is during moments of gnosis that sigils may be hurled; that the magician can reach through layers of space-time to manifest her will, and Gods can possess their devotees. Historically, many of the techniques of gnosis have been augmented by the use of drugs - from witches' flying ointments to the LSD & sensory deprivation experiments of John Lilly. Any system or tradition is incomplete whilst it remains a theoretical curiosity. Study alone is of little value, unless it is complemented by practical messing about. Whole volumes might be written 'explaining' the magical natures of the various entities such as Goddesses, Demons, or Spirits, but these are no substitute for the experienced 'reality' of a deity during the course of a ritual. Although there is much talk of 'magical secrets', the only 'true' secrets are those which can be personally discovered through the light of direct magical experience. Altered states of Consciousness may be achieved using a combination of internal changes (the use of the methods of gnosis), and interactions with others, as in hypnosis, group ritual, or orgia.

use this for meditation

the Pyramid and The All Seeing Eye

symbols play an all important role in any magical practise study them use them well and intuitively

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infinity an


The postula held throug

nd various conjectures


ate that one world mirrors another larger or maybe smaller world is ghout Nature.

16 NEUROMANTICS Neuromancy centres all occult ability and potentia within the human brain - possibly the least understood and most complex system of all. All occult exercises, according to this model, have some kind of effect on the brain, and it also follows that in respect to experiences with ASCs, possession, gnosis etc., that the root event is occurring at a neurological level. Thus the aim of any psychotechnology is to unlock the powers of the human brain. We believe that the evolutionary adaptation of humanity is an ongoing development of consciousness, and the place where all vectors meet in consciousness is expressed, in physical form, as the individual biosystem. Of all the techniques of neuromancy, recourse to Chemognosis (drugs) is the most widespread across cultures, and in the western hemisphere particularly, one that arouses much controversy. Only those who have received medical training, and can hence say from a position of authority that they do not know how the brain works, are allowed to tamper with it - through ECT, surgery and the good old 'chemical cosh.' While it is fine for these watchdogs to impose their will upon the brains of others, it is quite another matter for non-qualified people to try it on themselves.

In alchemy, nigredo, or blackness, means putrefaction or decomposition. Many alchemists believed that as a first step in the pathway to the philosopher's stone all alchemical ingredients had to be cleansed and cooked extensively to a uniform black matter.[1] In analytical psychology, the term became a metaphor 'for the dark night of the soul, when an individual confronts the shadow within'





As their investigations continue, the company are confronted with an increasing series of alchemical concepts. This began with the mad Dr. Lorenz, who engaged in a strange mix of alchemical and other experiments in an effort to bring to life alchemical concepts. Much of alchemy involves representing the physical processes as mythic journeys -- identifying key ingredients with universal occult symbols: planets, astrological signs, pagan gods, biblical figure, tarot cards, or simple images. A serpent crucified, a two-headed hermaphrodite, etc. Lorenz mentions the White Lady and the Black King in his notes, which are alchemical terms. The White Lady here represents the force of order (illumination and vegetation), while the Black King represents the force of decay (putrefaction). Lorenz had made a full alchemical realization of the Red Man, the joining of these two -- a two-headed hermaphrodite like the one pictured above. However, it was flawed and either was set loose or escaped. Within the game, the company have picked up upon this as a method of causing magical effects. Individuals, it seems, can become avatars of sorts for these symbols. Hilda Stein was the force in London for the White Lady, while Charles Milverton became the Black King. Our magic is done by acting to match up these images into mythic sequences. Thus, the company captured the Black King by enacting the myth of Aphrodite and Ares being caught as adulterers in a metal web by Hephaistus. Here we figured the Black King as Ares and the White Lady as Aphrodite, then arranged other figures to represent the other forces in the battle.

"In the driest whitest stretch of pain's infinite desert, I lost my sanity and found this rose"


The Little Book Of Alchemy, Pharmaceuticals and other Useful Spells... an Artist Book by Neil Nieuwoudt

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