Tag Archives: vision

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The Mozamo Working

9th September, 2011. The temple space was Alan’s empty flat in Crouch End. The removal men had cleared it that morning because Alan and his wife were moving to Wales. We put on our robes and burned incense of Abramelin. We had a ouija board and an iPad running a browser. I banished the space with The Lesser Banishing Ritual of the Pentagram.

Our intention was to contact Tempe, an astral representative of the A.’.A.’., with whom we’ve spoken on previous occasions. We’d prepared list of questions, but I’d devised a new means of communication. Our usual method was for me to enter a trance and transmit the visions sent by Tempe whilst Alan did the talking, so we began in this manner but then asked if the new method was acceptable. The vision I received from Tempe was firstly of the Milky Way, and then of Tempe in white robes, his arms outstretched towards us. We took this as an affirmative, and so we changed to our new method. We both placed our fingers on the ouija board’s planchette.

‘Are you able to communicate with us?’ Alan asked. ‘Is the ouija board appropriate?’

The answer came back: ‘NO.’

‘So who are we talking to?’ Alan asked, puzzled. ‘Can you spell out your name?’

‘MAMOZA.’

‘What is your nature?’

‘NO,’ the spirit responded. And then ‘NO’ again, even before we’d asked: ‘Are you an astral representative of the A.’.A.’.?’ In reply to, ‘What do you want?’ the spirit spelled out ‘MOZAMO.’ What we took this to mean was that the original name had been incorrect; those NOs were its attempt to pull us up and correct the misunderstanding before proceeding.

‘Okay. Is MOZAMO your name?’

‘YES.’

This time, the spirit’s role as an A.’.A.’. astral rep was confirmed.

‘So what has happened to Tempe?’

‘GONE.’

To test the spirit, we asked it to provide the names of both our Holy Guardian Angels, which it did successfully without hesitation.

‘Can you supply us with a trance-state that we can evaluate?’ I asked.

‘YES.’

‘Can you appear to us as a vision?’ Alan added.

mozamo

Mozamo, as she appeared to Alan in his vision.

‘YES,’ came the response. We sat in meditation for a while. Alan entered a deep trance and received a vision that looked like the girl in posters for the musical Les Misérables, but with an angel’s wings. I saw no images, but entered a state identical to the kind of trances that Tempe was fond of handing out.

‘Can you answer our questions using the method we have devised?’

‘YES.’

‘Are you friends with Tempe?’ Alan asked.

‘NO.’

‘Enemies, then?’

‘YES,’ came the answer, much to our surprise.

‘Why?’

‘HATE,’ was the response.

‘Hang on,’ said Alan. ‘You’re both members of The Great White Brotherhood! Why has Tempe left us?’

‘JOKE,’ came the response.

‘You mean the joke’s on us?’ I asked.

‘YES.’

Phew. Curiously, however, there was no response to Alan’s next question: ‘What is your number?’

‘Did you not like that question?’

‘NO.’

‘You’re quite a character, aren’t you?’

‘YES.’

‘We could only ask Tempe questions directly relevant to our personal development. Is it the same with you?’

‘NO.’

‘Can we ask you anything at all?’

‘YES.’

My first question for MOZAMO was whether the writings of Bernadette Roberts offer us any opportunities for further spiritual advancement.

The immediate answer via the ouija board was: ‘NO.’

‘Can we use the new communication method we’ve devised?’ I asked.

‘YES.’

The method was to ask the spirit for a word or string of characters which, when entered into Google image search, would provide a picture as the answer to our question. We would take the first result from Google as the answer. The aim of the method was to provide pictorial, symbolic answers – just as Tempe always had – but in a more objective way than relying upon the visions of a single person.

‘Okay. So – how many words or strings will you be giving us?’

’2.’

The response was as follows:

chng-gnenny

CHNG and GNENNY. Mozamo's views on Bernadette Roberts look rather bleak.

Bernadette Roberts gave up her life as a Carmelite nun in order to live in mainstream society. She married and raised four children. The images that formed the answer show a family photo lying in the gutter next to a drain, and a very old woman. This looks rather bleak. Roberts does not teach often (apart from a small, annual retreat) not surprisingly, perhaps, because she’s over 80 years old. The lack of current information about her makes it difficult to venture an interpretation of these images. Unless, perhaps, the information that is available somehow speaks for itself.

Alan was up next. He’d found the process of relocating to Wales amazingly easy, as if it was meant to happen, so he wanted to know if Mozamo could shed further light on this. A first attempt at a direct answer via the ouija board produced ‘MADEOGOHNWAMN’ – and then a ‘NO’, as if the spirit had given up on making herself understood. Returning to the image method, the result was:

mnvn-dnwbm

MNVN and DNWBM. An economic crash in November, and a visit from the relatives.

So, an economic crash seems to be the reason for Alan’s move. In response to his enquiry about the date of this event, Mozamo supplied, ‘NZOV.’

‘You mean, November?’

‘YES.’

In response to further questions, the spirit revealed that the move would be related to Alan’s work on Deep Humanism, but that his new home would not furnish a suitable location for holding retreats. Mozamo stated there was something else, which it would need the image method to communicate. The result was the picture of a couple, shown above.

The spirit clarified that the image represented not Alan and his wife, but a couple they would meet. When asked the relevance of the meeting, the spirit managed only ‘WA’, before giving in with a frustrated ‘NO’. Seeming gibberish followed, ‘MNMAZN’, before we determined that if both of us exhaled upon the ouija board this would lend the spirit more energy. It them spelled out: ‘MUM.’

‘Is the woman my mother and the man my brother?’ Alan asked.

‘YES.’

Alan then terminated this line of questioning, not relishing the thought that his immediate family might soon be following him to his new home.

It was my turn again. ‘Why have I been ill recently? Is there a metaphysical reason for this?’

‘YES.’

‘Was it to teach him a lesson for being so weak?’ Alan couldn’t help quipping.

‘NO.’

The images produced were these:

fmbzb-fubz

FMBZB and FUBZ. There is a time to confront one's animal nature, and a time to stuff one's face.

The first shows a competitor in a sport known as Schutzhund, which involves a handler and a dog performing tests before a judge. Schutz means ‘protect’. The second shows a man eating food, from a website whose strap-line was: ‘Clean yo’ plate’. The image of the dog jumping up at the man reminded me of The Fool in the tarot, in which the dog – usually taken to represent the animal instincts – leaps at the man from behind. But in the photo, the man faces the dog, confronting it with the aim of controlling it. When ill, I was very nauseous, and I’d wondered if this was a symptom of my disgust towards reality in general. In the photo, the man is eating heartily, with complete abandon. I took these images to indicate that the purpose of the illness was to confront my bodily, animal nature, and now I should drop my disgust and start ‘eating’ again.

Next, Alan wanted to know why he had been experiencing so many synchronicities relating to bears. The ouija board yielded the string ZOMQ, but Google (in its charming way) decided it knew better and gave us results for ZOMG instead. The first among them was:

zomq

ZOMQ, ZOMG. Does the Pope wear a yamulke?

Noticing what Google had done, we backtracked and checked out ZOMQ, which was a picture of a person leading to a music site that I suspect we were both too old to make much sense of. It was not until the working was over that we considered the image above in detail and finally worked out what it meant – blowing our little minds in the process!

Alan ascertained that ‘ZOMG’ is urban slang, a sarcastic variant of ‘OMG’ or ‘Oh, my God’. You would use ZOMG to express sarcastic surprise at someone who was stating the obvious. The slogan under the image of the Pope reads, ‘ZOMG, that guy is stealing the Pope’s yarmulka [sic]!’. Of course, the Pope doesn’t really wear a yarmulke, which is a type of skullcap worn by Jews. To suggest that he does is a play on the common expression, ‘Is the Pope Jewish?’ or ‘Is the Pope a Catholic?’ Like ZOMG, these are both idioms to be used against someone who is stating the obvious. And then suddenly the penny dropped, as we recalled an equally popular expression for stating the obvious: ‘Does a bear shit in the woods?’ Indeed, this is sometimes combined with a Papal reference to produce the comical, ‘Does the Pope shit in the woods?’

The upshot of all this was that ZOMQ had led by a roundabout route to yet another bear synchronicity, the underlying meaning of which was an ironic rebuke, ‘Isn’t it obvious?’ And it didn’t end there, because when Alan happened to look up later the name of the young girl in Les Misérables, whose image (with added angel wings) Mozamo had adopted at the very beginning of the working, he found out that besides mostly going by the name Cosette, she is also known as Ursule. This is the French form of the name Ursula, the meaning of which is ‘little she-bear’. At which point, both our brains exploded.

But to return to our account of the working, ‘When I was younger,’ Alan asked, ‘I saw two orange glowing spheres in the sky. None of the people I was with noticed them, and they carried on talking amongst themselves even as I tried to point out the spheres. They ignored me until we’d reached a place where it wasn’t possible to see the spheres any more. My question is, do you know what was the nature of those objects?’

‘NO.’

‘Was I intended to see them, but the people I was with were not?’

‘YES.’

‘What was the reason for seeing the sphere?’

The string, HQMX, led to an indeterminate image that turned out to be a snapshot of a webpage. When we followed a link to the webpage itself, we arrived instead at a holding page with the slogan, ‘What you need, when you need it.’ Alan was satisfied with this as the answer.

Further questions via the ouija board, however, turned up the interesting response that although Mozamo is a member of the A.’.A.’., she doesn’t know the nature of the UFO phenomenon. She understands what extraterrestrials are, and knows that they do indeed exist on other planets, but she stated that UFOs – or, at least, the objects that Alan saw – are related to the Earth, rather than to biological beings from other planets.

Our final question related to prophecies concerning 2012 that Tempe had previously revealed to us – specifically, images of tripodal alien machines, like those in H.G. Wells’ The War of the Worlds, which may be connected to a devious ruse by the Black Brotherhood; and also a puzzling ‘spoon’ that produces ‘food from the moon’, which seemed to be linked to a counter-plan by the White Brotherhood (The Urn, p. 149-50).

By leading us to the logo of an IT company, Mozamo revealed that the tripods were related not to an alien invasion but to a technological development on Earth, a device that will be extremely bad for humanity but in the development of which, unfortunately, Alan and I will somehow be implicated, although our involvement will subsequently turn counter.

‘Has this anything to do with my dream?’ asked Alan.

‘YES.’

‘What dream?’ I asked.

‘I’ll tell you later.’

Our request for elaboration on ‘food from the moon’ led, via the image method, to the inactive Twitter feed of someone named Chris Wilterdink. We were advised that Chris was somehow connected with the putative lunar utensil, but so far we’ve resisted the temptation to drop him a line and ask whassup.

cscm-cwdubj

CSCM and CWDUBJ. It's not extraterrestrial, it's just IT. And fear not, for Chris Wilterdink is amongst us!

‘Do you have anything else to tell us?’

‘YES.’

‘By the ouija?’

‘YES,’ Mozamo replied. She continued with, ‘LET ME NH…’ but then started to struggle.

‘Does it involve trance? Do you want to trance us out?’ Alan guessed.

‘YES.’

‘And will there be a visionary component. Is that how you’ll tell us your message?’

‘YES.’

We sat quietly for a while in a deep bliss. I saw a snake, writhing on its back with its belly exposed, seemingly in trouble. And I suddenly remembered my dream from the night before: an eight-foot tall ghost I’d managed to photograph. Meanwhile, Alan saw a toilet roll that had run out. As we’d very recently made a trip to the corner shop, to remedy a real-life manifestation of precisely this phenomenon, he didn’t set much store by this.

We closed the temple without banishing.

‘So what was this dream of yours?’ I asked.

‘My friend Vinay uses an astral room where you can go to view everything that will happen,’ Alan explained. ‘He showed me the key to it, so I meditated and decided to go visit. In the vision I received, I was in a room, a study. There were lots of people milling around. There was a long scroll with the history of the world. It mentioned pyramids and UFOs. After the vision, that same night, I had a dream – I was being shown something to do with the atmosphere around the earth. Something came in and knocked something else out of the atmosphere. Then the imagery changed to a snooker table, with balls hitting each other instead, and in the middle was a white device that radiated energy. The sense was that this was free, renewable energy; an energy device. I realised later that this is the way that solar power actually works: solar rays “knock out” electrons, and the freed electrons become electricity.’

I don’t think Alan noticed that I blanked out half-way through this, and was only pretending to listen. But when I came to review our audio recording of the session, his account of his dream recalled an alternative energy project I’d seen on television a few weeks before, the Sandia S2P project, which utilizes highly concentrated solar energy to convert sunlight into petrol, achieved by knocking out an oxygen atom from CO2 (carbon dioxide) to make CO (carbon monoxide), which can then be used to synthesize combustible fuel.

This is certainly an energy project I’d be suspicious of, because it would maintain reliance upon petrol, and all the pollution and CO2 emissions this entails. Is it a plot by the Black Brotherhood? I doubt it. Yet consider the following and compare the images below:

tripods and solar power accumulators

Contemporary solar power accumulators, and the deadly Martian tripods from Wells' 'The War of the Worlds'.

In Wells’ The War of the Worlds, the alien tripods carry boxes that emit a concentrated ray of deadly heat. Compare the illustration based on Wells’ descriptions with the photo of a concentrated solar energy cell. The cell also includes a box that emits intense heat, only it projects it inwards and conserves the energy, rather than projecting it outwards and killing people.

Oh dear. Perhaps only Chris Wilterdink can save us…

Addendum

Although our request for Mozamo’s number was refused, it was revealed after the working when we discovered that, in English Qaballah, ‘Cosette’ = ‘Ursule’ = 24 = ‘Aiwaz’, ‘magic’, ‘Qabalah’, ‘truth’, ‘word’.

Audio Snippet

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The Vision of LOE (Aethyr 12)

I am looking through a window at the rain. Realising I am dreaming, I haul myself through the glass and shout the evocation at the sky: ‘I wish to scry LOE, Aethyr Twelve!’

I feel my body dissolve and I wake. But I sense the lucid state is still close, so I make myself still and re-enter. It’s the same place: an urban garden between derelict buildings. A man wheeling a bicycle comes towards me. He is wearing yellow waterproofs and looks an earthy type, like a gardener. I ask him where I can obtain the vision. He mumbles something about telling me later. No joy there, so I walk on.

[The figure of the man reminds me of the sinister stranger in 'The Two Faces of Evil', an episode of Hammer House of Horror first broadcast in 1980, which scared me rotten when I was a kid. That yellow mac should have set alarm bells ringing! The story also includes a 'doppleganger' theme.]

The Two Faces Of Evil

Scary yellow-macked stranger from the Hammer House of Horror TV series (1980).

Set into the side of one of the derelict buildings is a stone cat. It can move, but only across the walls. I watch for a while, wondering if it is really an independent creature or only a part of the building.

[Maybe this is a missed signal concerning the dream state itself. A lucid dream feels real because we can differentiate our surroundings from our consciousness of them. But of course this is an illusion, because the surroundings are an aspect of our consciousness with no material basis. In a lucid dream we are all like the stone cat: we appear to ourselves independent, but the 'self' is really only a part of the 'building' of our dream.]

I wake up, but the lucidity is still at hand, so I re-enter and am in my parents’ garden at night. I look into the sky and ask the Enochian angels to come down. They don’t, but their celestial city appears in the sky, glowing and distant. Nothing else happens so I decide I must travel upwards. I launch myself into flight and discover their city is a huge, metallic structure, bristling with towers and buildings, riddled with interior chambers.

[Unlike the other Enochian visions, there is a sense that I am taking or hunting for the vision, rather than receiving or accepting it. Does being in the lucid state make this inevitable?]

I fly at random towards a spiky part of the structure that looks like the crown on the Statute of Liberty. Inside is someone’s room. I sense I must work out whose room it is and this person’s function.

On the desk and on shelves around the room are ceramic ornaments. All are variations on the basic form of a pair of fishes. ‘Pisces,’ I realise. A small yellow card has suddenly appeared on one of the shelves with the word ‘AUTHOR’ scrawled on it. From this I realise that I am being watched and that someone is feeding me clues, or perhaps trying to manipulate me. It’s clear I am being prompted to conclude that the man who works in this room is a writer, and that the ‘ornaments’ are a metaphor to describe the kind of writer he is.

[The symbolism of Pisces is two fishes, usually swimming in opposite directions, their mouths joined by a silver cord. The upper fish represents spirit (or 'the astral'), and the lower, the soul (or 'the etheric'). Spirit is independent of matter, but soul is strongly influenced by it. The Piscean is someone who is habitually detached from the material world, but struggles with the duality of soul and spirit instead. Note how the card is yellow, like the yellow mac. Perhaps a warning signal, the way that red objects function as warning signals in the film The Sixth Sense (1999).]

Pisces

The symbol of Pisces, from a woodcut made in 1451.

There is a large mirror in the room and I go to look at myself. I am wearing a striped, light-grey, buttoned-up shirt. My hair is greyer in the reflection than it is in waking life.

[The suggestion is that the author who inhabits this room is me.]

There was perhaps more at this point, but I seem to have forgotten it. Things take a darker turn. The next I remember, I am lying at night in a bedroom with a large window. A ghost is known sometimes to appear on the window’s other side. But sometimes the window is a mirror. I look at my reflection again. Sometimes my image is single and sometimes multiple. Some of the multiple images of myself appear in a way that seems manic or insane.

[In 'The Two Faces of Evil' the stranger in the yellow mac attacks a family in their car, causing an accident. When the mother of the family awakes she discovers the maniac is physically identical to her husband. One of them is dead – but is it really her husband who has survived? In my experience, the multiplication of the self is generally a regressive and paranoid manoeuvre, and is unlikely to have a happy outcome.]

When I ask for more information, suddenly me and my reflections find ourselves saying uncontrollably, explosively, the word ‘BARGAIN’. It is very physical and sends spasms through me each time I say it. There is something not healthy about this word, but it also has useful powers: to connect, jolt and make physical.

[Very much descending into the etheric here. BARGAIN = 34 = vision, pleasure, beautiful, destroy.]

I lie down again and look at the window, again sensing that a ghost may come. There is a human skeleton in the room made from hard plastic. It doesn’t seem to be alive, but somehow looks friendly. Then it falls down suddenly across me in the bed.

It starts to move. Its head is near my crotch. It becomes warm and heavy and I sense a strong female presence. I am being suffocated, my energy slowly but aggressively being sapped. I realise this is a succuba attack. I fend it off with pentagrams. But I wake up shocked, because nothing like this ever happened to me before in an Enochian vision.

succuba

Succubas, I think, don't look quite like this, but can de-spunk you just as thoroughly as if they did.

[I've evidently descended at this point to such a shitty level of consciousness that I'm attracting attention from the nasty etheric spirits that inhabit it.]

The vision seems to have ended, but I am still in the remnants of the lucid state. I am in an astral version of my actual room. I perform a full, astral Lesser Banishing Ritual of the Pentagram, but have a difficult job turning around in my astral body to do the four quarters. In the state I am in, it seems impossible to attain a representation of physically turning around.

[In short, it would appear that remaining in the lucid state is not the best way to receive an Enochian vision, because it puts us in a position of having to find, seek out or force the vision, rather than receiving it from the angels in the usual way. In the lucid state there is a diminished sense of the vision as a 'message', and an increased sense of undergoing it as a direct 'experience'. This could be compared to people who confuse the significance of a spiritual experience with the experience itself, and come away with a mistaken idea that (for example) enlightenment means being in a constant, blissed-out state. However, there's a strong sense of something trying to warn and guide me during the vision, whose message (despite the way I ignored it at the time) I can perhaps take away as the significance of this aethyr.]

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The Vision of ZIM (Aethyr 13)

It takes a long time before I find the lucid state, but finally I’m in my parents’ house, looking out through the window of my old bedroom, and I realise I must be dreaming. ‘I wish to scry the thirteenth aethyr, ZIM,’ I shout, and push myself through the window, which feels mushy like jelly. It takes some effort but I make it through and fall onto the lawn. I look up at the sky, then feel myself dissolve and wake.

ozymandias

Ozymandias, a.k.a. Ramses II. This British Museum statue is thought to have inspired Shelley's sonnet.

For a while, only shapes. Then a large book placed on top of a boulder. A sense that the truth is written in this book. I lie down and about my body, white rock forms. When I move again, the crust of rock around me shatters and falls. Then I begin to shrink, and only now realise that formerly I was of a gigantic size. Back to normal, I find myself in a ruined city made from chunks of masonry formed by my body.

['Two vast and trunkless legs of stone...' The monumental limbs remind me of Shelley's 'Ozymandias'. The name comes from the translation into Greek of the throne name of Ramses II, User maat Re, Setep en Re, which could be translated into English as 'Ra's powerful law, beloved of Ra'. The book of truth on the boulder recalls the stone tablets revealed to Moses by Yahweh (Exodus 24: 12). Indeed, Ramses II is a likely candidate for the pharaoh of Exodus, who oppressed the Israelites. So we have the stone of a tyrant (Ramses) contrasted here with the stone of a prophet (Moses). The masonry is formed from my gigantic body. It's as if I were being shown how an over-inflated view of self produces calamity, decay and oppression of truth.]

Shiva

Bull? Check! Tiger skin? Check! Trident? Check! Shiva, innit.

A spirit, TAMYIMS, shows me images of trash celebrity culture. Then a god comes, who sweeps all the trash and trivia away. At first he takes the form of a bull. Then he becomes a cartoon tiger, like Tony the Tiger on a Frosties cereal packet. He holds a trident. He reveals that a book has been painstakingly put together by his devotees and it is hidden in an empty house in Eire, one of those thousands which, due to the economic crisis, no one can currently live in or sell.

[TAMYIMS = 28 = 'culture', 'analysis'. The god is Shiva. He takes possession of the bull, Nandi, as his mount. The tiger represents lust; Shiva is seated on a tiger skin to symbolise his conquest of lust. The trident is his symbol of sovereignty, its points representing the three gunas: creation, preservation and destruction. The book compiled by his devotees is a striking contrast to the book on the rock: it has no single author; it's contemporary; and it is hidden in a place where no one wants to live.]

The god has scratched the number 71 onto glass with his claws. His devotees now depart the mundane world by entering into torrents of water and swimming free. Onto the water is written the name BALLS, in tiny letters, many times over. One man is not swimming with the devotees, but sinks beneath the surface and is gone. I hear the words: ‘Twenty-five years of demand against responsibility.’

Ed Balls in 1986

Ed Balls at a party during the Thatcher era. (Only n-n-n-n-nineteen, bless him.)

[71 = 'Ra Hoor Khuit' (see below). BALLS = 10 = 'babe'. Ed Balls is the current UK Shadow Chancellor for the Labour Party. He was born the same year as myself. 'Twenty-five years ago' was 1986, the height of the Thatcher boom years, when Ed Balls was photographed at a student party dressed as a Nazi officer. 'Written on water' is a poetic commonplace for a reputation that will not last. The origin of the phrase is from Beaumont and Fletcher: 'All your better deeds shall be in water writ, but this in marble' (Philaster, 1611), which suggests that our dubious actions are set in 'stone', but our best ones are in 'water'. The words heard sound to me like a valid critique of every government since 1986 – and for the foreseeable future, no doubt.]

We are all of us in the water, some moving freely and some sinking. The water is suspended in nothingness, like a galaxy made of liquid. From its underside, the water puts out tendrils, Y-shaped in a three-dimensional way that reminds me of the shape of a wineglass. Many of these structures emerge, but there is a sense that this is only a temporary, desperate measure for the galaxy to sustain itself and it must surely fail.

[Water is more free than stone, but in water there is the possibility of sinking. Indeed, the water itself seems in danger of sinking and must put out tendrils to support itself. Everything seems precarious and ultimately doomed.]

The Aeon

The Crowley-Harris Thoth Tarot. XX: The Aeon. Hoor Pa Kraat is centre, foreground. Ra Hoor Khuit is centre, background, seated.

A non-lucid dream from the night before re-surfaces: a French woman, who says she is anti-German. I ask her how a position like that could possibly make sense. It’s not as if she could remove Germany! But she seems to think that, somehow, this is possible. Then a German man who happens to be listening admits that Germans are often prejudiced against certain parts of Holland, so he can partially understand the Frenchwoman’s position. For my part, I confess that I’m not a fan of French culture, but it would be absurd of me to advocate the removal of France. ‘We can simply allow the spread of the English language to do the job,’ I add.

[A return to the theme of 'sweeping away' culture: only a god, Shiva, can accomplish this. In the human realm the idea makes little sense and cannot truly be achieved by force. The only way to change culture on a human level is through further cultural processes: e.g. the spread of the English language within French culture. A god can place himself outside this process, maybe, but human beings cannot.]

At some point during the vision a symbol appeared for the tiger-god’s purge of culture. It looked like ’52′ or ’5A’.

[52 = 'Hoor Pa Kraat'. The symbol for Shiva's 'purge of culture', then, would seem to be the god Horus, or Heru Ra Ha. Crowley writes: 'A double god; his extraverted form is Ra Hoor Khuit; and his passive or introverted form Hoor Pa Kraat' (The Book of Thoth, 'XX. The Aeon'). The symbol for Shiva's purge, then, is 52 = 'Hoor Pa Kraat'; his message scratched on glass is 71 = 'Ra Hoor Khuit'; both are complementary aspects of Heru-ra-ha = 44 = 'key of it all', 'prophet', 'disappear'. My stab at an interpretation of the whole vision is as follows. The process of enlightenment is the escape from 'stone' into 'water' through becoming a devotee of Shiva (meditation, enlightenment). This sweeps away what is decadent within culture, but only on an absolute level. The vision is a reminder (or warning, perhaps, because even when in water there is still the risk of sinking) that cultural change on the human level only comes about through itself – i.e. culture changes by cultural means. This process of this cultural change of culture is represented by the Thelemic deity, Heru Ra Ha.]

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The Rite of Morpheus and the Powerlessness of Prophecy

The Rite of Morpheus

I took three dessert spoons of valerian root and added them to one and a half litres of filtered, boiling water. Covering the pot, I kept it at a rolling boil for twenty minutes, with the window open and the extractor fan running because valerian badly stinks. Next I added three dessert spoons of passion flower and three of mugwort leaf, boiled the lot for a further five minutes, then switched off the heat and let the mixture cool for a couple of hours. Finally, I decanted the liquid and threw away the solids. The potion was a sacrament for Morpheus, the Greek god of dreams.

Morpheus, Iris and Phantasos

Morpheus, with his consort Iris and his little brother, Phantasos.

We sat in a circle. In the centre, the bottle of potion and a picture of a poppy, an emblem of Morpheus. There were two other pictures: one of a piece of horn, the other of a piece of ivory. I shuffled these face-downwards until I no longer knew which was which and placed one in a corner of the room, and the other in a parallel corner. Seated, we chanted the name of Morpheus freestyle for a few minutes, then I raised the bottle of potion as the signal to begin and everyone fell silent.

Morpheus, god of dreams, son of Hypnos and Erebus, eldest brother of Phobetor and Phantasos, nephew of Hades, I invoke you! I ask you to join us this evening and accept this sacrament of herbs sacred to you: valerian root, passion flower and mugwort leaf. I ask that in return you send us great and wonderful dreams. Amazing visions! Life-changing pictures that will transform our lives for the better. Morpheus, hear me, accept our offering and send us all great dreams this night!

Cups were passed around the circle, the bottle uncorked, and everyone swigged a share of the black, bitter liquid. Then we lay on our backs in silence and closed our eyes. We each visualised the feeling of falling backwards into infinite blackness: that queasy, sinking feeling in the pit of the stomach as balance and bearings are lost; the sensation of flailing limbs.

After some minutes, as the priest of Morpheus, I approached each prone figure in turn and swathed a thick cloth about their eyes. ‘Rise now.’ I helped them to their feet with eyes still covered. ‘Through which gate will you return, right or left?’ I asked. They indicated with a gesture or a word and I led them in the chosen direction, to one of the corners in which lay the face-down picture of either the horn or the ivory. Then I uncovered their eyes with the words, ‘So depart back to wakefulness through the gate you have chosen.’

For the Greeks, dreams were either prophetic in nature or deceptive. Prophetic dreams were literal and clear. Deceptive dreams weren’t necessarily false, but the figurative or indirect means by which they revealed their truth could lead people astray. Prophetic dreams were sent by the gods through a gate made of horn. The deceptive dreams came via a gate of ivory.

When everyone was roused from the visualisation, and had made their blind choice of a gate – including me – then two groups of roughly equal numbers stood in parallel corners of the room. Finally we turned over the pictures in each corner, to discover which group would receive prophetic dreams that night through the gate of horn, and which would dream deceptively via the gate of ivory.

I had chosen horn.

Koala and baby

It's game over for these cuties. Allegedly.

More people attended the ritual than expected, so the doses of potion were only symbolic. I didn’t notice much effect, except, as I fell asleep that night, some striking hypnagogics. It was as if one part of the visual field was detached and insisted on resolving into two living creatures that roved around one another. Throughout that night’s dreams I felt tight and stressful, but this might easily have been my state of mind rather than an effect of the potion. There was not a sniff of lucidity throughout the whole night, yet I passed through many non-lucid dreams, and the receiving of the dreams became itself their theme. It felt constantly as if I were reviewing what had been dreamt so far, scanning it for significance. But what I actually woke with the next morning was a short message from Alex. He had sent me the pointing-out instructions for perfect enlightenment, but they had been posted onto a staff intranet and edited so many times that they were garbled and had lost their poetry. They read: ‘(1) Be aware, all of the time; and (2) There is nothing to understand.’

I also woke with the certain knowledge that koalas will become extinct. The species has passed a tipping-point and there is no turning back. These animals will vanish from the world.

The Powerlessness of Prophecy

The Morpheus rite took place on February 18th. A day or so before I had scryed Aethyr 14, UTI. After the ritual, when I came to write it up, I found the latter part of the vision rather ominious, in which a siren sounds and I find myself wondering whether it indicates an impending nuclear apocalypse or flood. On February 21st I mailed a copy of the vision to Alan, to see what he made of it. He skyped me immediately and told of how his dream following the Morpheus rite involved nuclear incidents, disasters and floods.

The next day (22nd) I received a message from one of the participants in the rite, Frater D, complaining of the potion’s effects on his dreams:

Thermonuclear and flooding. Airbursts over the oceans to deliberately cause tsunami. Massive environmental consequence. I saw the whole thing from a mountain hideout… Intense, reality unfolding in real time as directed by my will; me making a terrible mess of things, and trying to rectify the previous unfoldings, whilst simultaneously the weather was responding in real-time to my moods. A head fuck of the highest order.

On the 23rd I received a weird pingback on this blog from someone insisting that a nuclear war would start in 2011, and who seemed to think my article on Entrances to Hell was proof. A synchronistic can of worms seemed to be opening. All these connections to floods and nuclear explosions were becoming hard to ignore. I emailed all the participants in the Morpheus rite and, without giving them details, encouraged them to share whatever dreams they had. The results were disappointingly random. It made me realise how a synchronicity is something that happens; you don’t force it. If you try to force it, you may end up destroying it.

Unbeknownst to me, Alan had decided on a more magically sensible channel of investigation. He asked Ona and Alex if they would do some astral work to determine what this cluster of linked dreams might indicate.

On February 23rd and 24th, Ona’s visions included the following:

[A] goddess manifests, enormous, pale, dark-haired her white skirts cover the world, billowing like waves, a soft sweet breeze in their movement, cleansing, destroying, not cruel, rather impartial… [Blue beings] are worshipping her, calling her, enacting her cleansing, which is purifying and draining, destructive and renewing at the same time. the destruction and cruelty is without ill-intention, simply what must be… An abandoned wooden ship, corpses floating in the water. I sit in meditation on the deck of the ship. It sinks slowly into the water. The water is foul and full of trash.

Japan 2011 Tsunami

Japan tsunami 2011.

On February 25th, Alex reported:

I then see an angel called Chirspa, with two large golden wings. I ask him to grant me a vision that may shed light on the visions of my colleagues… He tells me to walk further down the hallway. There, I see a dark pit. I can see fire at the bottom. Being asked to jump, I dive into this abyssal pit to find myself on a beach. There, I see a gigantic wave rushing towards me, like an incredible tsunami. The wave blows everything away, including a large city.

Fukushima explosion

Hydrogen explosion at Fukushima nuclear power station.

Things fell quiet after this, to the extent that a familiar feeling began to creep over me: wondering whether I’d missed the point or failed to follow through on something that a vision or magical working had been trying to show me. But then, on March 11th, arrived news of the earthquake and tsunami in Japan, which put these visions in a horribly clear context. The nuclear theme of the visions now seems related to the ongoing emergency at the Fukushima reactor, suggesting perhaps that the outcome might be graver than the authorities are currently encouraging people to believe.

nuclear incident

Let's hope it's not really as bad as this certainly looks.

Terrible, heartbreaking images continue to stream from Japan, far worse than any of our visions for their being materially real. No doubt, stories will emerge of amazing psychic ‘predictions’ of the catastrophe. I don’t regard the details related here in that light. Perhaps this episode suggests that some events are so psychically impactful they send out ‘fore-echoes’ before they hit. My view is that what we experienced was a synchronicity, which has everything to do with a sense of interconnectedness and meaning, but presents nothing in terms of specific information or predictive power.

I would rather reserve claims of ‘prediction’ for those who understand what they see and act on it to save lives. Retrospective prophets, such as me, must live with the powerlessness that overwhelms everyone in the face of a tragedy on this scale.

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The Vision of UTI (Aethyr 14)

The lucid dreaming state arrives and I’m in a school. There are children everywhere, so I take the nearest exit to find a private space. It’s a fine, sunny day. Schoolgirls surround me. They know what I’m doing and jokingly try to distract me by jostling and shouting. But I look to the sky and shout, ‘Please admit me to Aethyr 14, UTI!’

Once more, I am lifted, dissolve and awake.

I lie in bed waiting for the vision, but I fall asleep and a non-lucid dream begins. I am in a room within a school – perhaps the same school as earlier. This is where I am to receive the vision, but it is a slow, laborious process. The first part of the vision has something to do with my ex-girlfriend. She walks into the room and proceeds to tell me what she thinks it means. I retort, ‘Listen, I know all about dreams.’ She says, ‘Yes, but my dreams are very rare.’

Sophia by Raphael. Ceiling fresco from the Stanza della Segnatura in the Vatican.

[The lover or partner represents Sophia or truth. The philosopher is literally 'the lover of truth'. My ex insisting that her dreams are rare is an indication that this is a dream of Sophia, a dream of truth.]

Next, my current partner comes in and gives me her take on what my ex just said. I can no longer remember specifically what either of them told me – only that, as insights go, they were very down-to-earth. Part of it concerned my attraction to my ex, which (when she came in) she revealed was based on a narcissistic fantasy to do with fulfilling a role that her present partner cannot. But when my current girlfriend came in, she punctured this interpretation as well, but on an even higher level.

[Before I became interested in magick and spirituality I was a student of psychoanalysis. The down-to-earth truth of psychoanalysis is represented here by my ex, who has been superseded by magick and enlightenment, represented by my current partner.]

I persist with the work of having this vision. Further parts painfully emerge. I am writing them down on a scrap of paper, but people keep tearing off strips for their own use.

Alan comes in. He has a hostage situation to deal with. An American ex-military man has taken a student hostage in a corner of the room. The man is no terrorist, but is making a stand on patriotic principles. He sits with a rifle pointed at the student, who is a geeky-looking character of perhaps doctoral age. The student smiles in a know-all, ironic way that does not arouse my sympathy.

'Don't make me meditate, else the babe gets it!'

[In one of the earliest aethyrs we scried together, Alan was advised by a spirit that he was in fact in the 14th Aethyr, and indeed – here he is! Alan is a guru and helps people become enlightened. In this sense he helps people negotiate freedom from their egos, the 'hostage-taker' represented by the American. The ego is not 'bad' or 'foreign', but is simply doing what it thinks is right. 'Making a stand' represents dualistic thinking. Many of Alan's students happen to be American. I am not drawn to teaching in the way that Alan is, which is perhaps why the 'student' appears so unattractive.]

I realise that part of the vision is a dream I had earlier, of stepping into some prefab buildings and discovering inside all the great and good of the city. They were quaffing champagne whilst watching their livestock give birth. This was an annual celebration to which only the wealthy were invited. A local councillor saw me and called my name. ‘Hello,’ she said, but it was apparent from her tone that she was telling me to leave quietly and at once. I pretended that I was one of the staff, by helpfully carrying outside a couple of foals. Then I decided to carry out a couple of handfuls of baby rabbits.

[The wealthy and powerful have control over the production of life, but no direct contact with it. They own the animals and derive financial value from them, but it is the staff who connect with and assist the animals. It would seem here that wealth and power consist not in having contact with or true ownership of life, but in having the influence to deny contact to others, or to change the nature of that connection into a question of financial value.]

I return to wondering why the American would risk his life for such an unprepossessing person as the student. But that’s Alan’s problem, I decide, noticing how much difficulty he is having talking the American out of the situation.

Gas is pumped into the room and the American falls asleep. A long time passes, until, Alan explains, ‘There is literally only one calorie left in his body.’ This means the American will no longer have strength to lift the rifle. Yet although he looks thin and starved, somehow he manages it. He laughs at Alan, who doesn’t seem at all discouraged, but tries another tack in his negotiations.

[Teaching enlightenment is a tiresome process of weakening the ego. Evidently, Alan has the patience to teach it. My sympathies lie more with the hostage-taker than the hostage.]

Back to the vision: I am writing down tables of symbols. One is a table of Enochian spirits. The other is a table of words that can be used for divination. The names of the spirits begin mostly with E. I think I see EXARP among them. In the divination table the words begin mostly with M. One is MANU. Another is MANGO. I think to myself how this is the advantage of the non-lucid state: I can directly receive information such as this. But I am already wondering how I will remember it all when I have woken.

King Manu (and friends) saved from the deluge by Vishnu as a great big fish.

[EXARP is the spirit of Air that governs the entire tablet of Air in Enochian magick. Manu in Hindu mythology was the progenitor of humanity, and is also a title bestowed upon the first ever king, and upon subsequent rulers or law-givers of specific aeons, each aeon referred to as a Manvantara (or 'life-span of a Manu'). MANGO = 23 = king = life = house. So the table of E-names seems to contain names of rulers of elements; the M-table seems to contain names of rulers of mankind. The rune MANNAZ (pronounced as an 'M') has the symbolic meaning of 'humanity' or 'the social order'. The runes also offer a possible combination of the two: EHWAZ is written as 'M' but pronounced as 'E'. It has the symbolic meaning of transportation, progress and change for the better.]

The information is useful in any case, because Alan, as he continues his negotiations, comes over to consult the divination table so he can plan accordingly. I really must make sure I get these tables down, so we can use them when we’re awake. But Alan keeps tearing off scraps of the paper, which isn’t helping.

[The M table would seem to contain information concerning aeonics and the relative dimension of truth. The E is spiritual and non-human. M and E is, of course, 'ME'. Perhaps this is pointing to the union of the relative and the spiritual in some sense.]

ME: Mannaz and Ehwaz.

A siren sounds ominously, as if a nuclear attack were underway or the end of the world. Lots of male students pile into the room with their teacher. The siren means that they must take shelter. I decide it can’t be as serious as it sounds – perhaps it’s simply raining outside. Alan seems to have decided this too. But the room is too crowded now for the hostage crisis to seem important, and Alan hardly seems to be working on it any more anyway. Then I notice the paper I am writing on includes simply the remains of an old game of squares.

The teacher of the students leans over and inspects the game, occasionally adding a line or tearing off further strips from my notes. He’s going to show his students a film of a football match. I think, ‘Fine. I’m not the least interested in football, so it won’t distract me.’

[The vision ends on what might seem an ominous note. Manu, the first king of Hindu mythology, saved the human race from a deluge, having recognised a warning given to him by a fish (Lord Matsya, an avatar of Vishnu) whose life he spared. We are not shown here why the students must come inside but, if it were raining, could this be a warning of a deluge? For Alan to have given up working with individual students ('the hostage crisis no longer seems important') something drastic must have happened. Likewise, the tables that the vision gave me have also evaporated and have turned into an 'old game of squares'. A two-sided game suggests dualism. The teacher insists on trying to perpetuate this game, although it is clearly already over. He also shows a film of a game to his students, which to me is obviously a distraction and a waste of time.]

The vision ends with the sensation of the slow, difficult process by which it has been attained.

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The Vision of OXO (Aethyr 15)

I’m looking at a book that I’ve written, filled with coloured images and text. A critic’s voice says approvingly, ‘It is a book of parodies. Some are gentle and some are cruel, but all are united in being parodies.’

[Perhaps this is a key for how to read what follows.]

Then I become aware of an enormous spirit that is vaguely cruciform in shape. It stares down at me as if it were a colossal building, but then it fades because another vision has interrupted.

Hitler Youth

Children at play.

There are children. Mostly boys. Dressed in inappropriate outfits – the type of things you would wear to a goth fetish club. The children are playing a cruel game with long-necked birds. Holding the birds upside-down (perhaps over a fire) they squeeze the birds until blood and innards ooze from their beaks. The aim is to be the first to squeeze out all the innards. The children are part of an organisation – like the Hitler Youth movement – which they are pressured into joining, and by which they are indoctrinated.

[During the day following the vision I went out for a run, and was disturbed by the spectacle of passersby gathered around a sick seagull stranded on the pavement. The people were laughing at the bird. This part of the vision seems to prefigure this event. The clothes worn in the vision suggest that these are not literal children but childish adults. A bird is traditionally a symbol for the soul. The 'Hitler Youth movement' might be taken as a metaphor for contemporary secular society, which encourages the game of 'squeezing out the soul'.]

Two important books are delivered. One is them is especially vital and was written by a female author. There is the sense that it is a draft or prototype; not the actual work. Its number is 49 (maybe 46). A man brings the books. He is dressed in black, with a brimmed hat. Because he walked into the room without an invitation and was looking at all my books, I said to him, ‘Are you just browsing?’ He replied, ‘No. These books were delivered for you at your old address and I have brought them.’ His number is 55. I am obligated to read these books – especially the one by the woman.

[Again, this seemed to prefigure actual events. On the day following the vision I unexpectedly received an email inviting me to read a draft of not two books, but a single book written by two authors (one male, one female). 49 = 'dissolution' = 'fruition'. 46 = 'children'. The number of the man, 55, is 'that veil is black' = 'Asar the adorant'. Asar is Osiris, Egyptian god of the dead and the underworld. The book I'd been invited to read was on magick. Its female co-author had contributed the sections on Santeria.]

Vast Spirit

The vast spirit. Like this - but huge. And made of masonry.

The vast spirit is back again, and I am being turned into something like him. My body flows into the masonry of the surrounding city. My body has become the city, but then I realise something even more far-reaching has happened: my consciousness was included in the transformation also. I enter a deep, conceptless samadhi, at which point my consciousness is locked into the masonry of the city. By becoming like the angel now I understand its nature. It is the city.

[This brings to mind the psychogeographical work I've been doing. So far I've mapped my city's elemental points, its chakras and its entrances into hell. I had also been thinking about locating its angelic guardians. Perhaps this is a confirmation that I should.]

And now there is a child: a girl with a jagged bob of black hair that obscures her features. Looking closer, I see she has no proper face. The flesh is distorted and amorphous, soft like porridge. She has only a mouth. She holds a bucket and I think at first that she is being constantly sick into it. But what falls into the bucket also has the nature of her mouth. What comes from her mouth is not a substance, but is the producer of further mouths. Her mouth multiplies itself.

Hungry Ghost

A 'preta' or 'hungry ghost'. Nil by mouth. Please do not feed.

[A 'child' again. Perhaps this time it's consumerism that is the object of the 'parody': a mouth that can never be fed, but only gives rise to more mouths. The girl also recalls a hungry ghost (preta) from Buddhist mythology, a being tormented by cravings that are impossible to satisfy, but is always seeking food that can bring no release from hunger. Traditionally, hungry ghosts have long, thin necks and big bellies – like the long-necked birds that perhaps represented the children's souls in the earlier part of the vision.]

Then I see another spirit, which is a living eye embedded in stone. The stone is carved into the shape of a large, capital sigma. The eye is ensconced in the upper part of the character. It is looking left and right – perhaps nervously. A voice says, ‘It is of the nature of toilet paper.’

sigma-eye

Sigma-eye.

[The upper case sigma represents 'summation' in mathematics, or 'self-energy' in physics. 'Sum' is also 'I am' in Latin. And 'eye' is a homophone for 'I', of course. This spirit seems associated with the ego or self – which is perhaps why it is looking nervous! Zen master Yunmen Wenyan, when asked 'What is the Buddha?' replied: 'A piece of used toilet paper'. In other words, the Buddha is something you can use to make yourself clean (enlightened).]

Then the images vanish and I am fully awake.

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The Vision of LEA (Aethyr 16)

This is the record and interpretation of a vision gained whilst scrying the sixteenth Enochian aethyr, LEA. I’ve posted the results of previous workings in this series on The Baptist’s Head. The system of gematria used to interpret the vision is English Qaballah.

I can see those round patterns that are sometimes found on ancient stones. When the record button on the voice-recorder was pressed, it was as if one of these round patterns was activated. These markings are beings, entities, and I see three of them. They are telling me that they are faery. This is what those petroglyphs actually depict. They do not always come in threes. They give me the number 37.

ancient rock art

British example of classic 'cup and ring' petroglyphs.

[37 = 'book of law, hermit, liberty, mighty, perfect, spirit.' Recent thinking on ancient cup and ring marks engraved into stone is that they depict shamanic psychedelic experiences.]

Undergrowth has grown up all around us and everything has been absorbed into it. And now there is an entity which is like a king with a long beard. It is Oberon, King of the Faeries. He wears a crown and his beard merges with the undergrowth. He’s like an optical illusion; only if you look in a certain way will you see him against the trees, and if the wind blows then he’s invisible again.

I can see an angle! [Yes, that's no typo: 'angle' not 'angel'!] It’s very pointy. There are three of them, but they refuse to form a triangle because they all want to be sharp and acute and are pulling away from each other. They don’t want to add up to 180. I am given 37 again, as if each of these angles is 37 degrees.

[3 x 37 = 111 = 'Hermit + Lover + Man of Earth'. 37 is also suspiciously close to 38 (3 and 8), more on which is below.]

This place is full of spirits, but they are all tiny and poky. Many of them are impossible to describe. I am being crowded by them. I ask to see something bigger. There is not much happening, but I’m determined to make something happen. I summon the angel of the aethyr, who gives me the number 17.

[17 = 'aeon', 'astral', 'aum ha', 'eye', 'God'. The angel seems to be announcing his weightier credentials.]

The angel is insectoid, a diamond-shaped face, geometrical. I ask it if we have anything left to learn from the aethyrs. It stands to one side and shows me that we’re at the top of a waterfall where the water cascades down into a forest. The view is impressive. I step over the edge of the waterfall and walk in space, which was frightening at first but not for long.

The scene dissolves and now I see a rose, white, not in space but inside me, not a physical form. I am given 8 and 3, alternating over and over: 838383838383… Something to do with the rose. Possibly 38 or 83, but it seems to describe some kind of pattern belonging to the rose.

The orbits of Jupiter, Saturn and Uranus.

Martineau's depiction of the orbits of Jupiter (inner circle), Saturn (middle circle) and Uranus (outer circle).

[This took quite some time to decipher, but first I realised that 8 minus 3 is (of course) 5, and that 3, 5 and 8 are numbers in the Fibonacci series, a sequence that (as is commonly known) dominates the morphology of the natural and physical world. The repetition of 8 and 3 then led me to the concept of convergent fractions in mathematics, and then to the importance of these in the manufacture of the gear wheels used in an 'orrery' – a scaled model of the solar system that accurately depicts planetary orbits and movement. From there I arrived at the work of John Martineau concerning the mathematical relationships between the planets of the solar system. Martineau shows how the relationship between the orbits of Uranus, Saturn and Jupiter can be depicted as a circle inside which is a triangle (3), inside which is an eight-pointed star (8). The triangle that refused to add up to 180 degrees came instead to 111 = 'Hermit + Lover + Man of Earth'. These three figures could be taken to correspond, metaphorically and respectively, to Uranus, Jupiter and Saturn.]

The angel of the aethyr is back. It has an ‘alien’ feel about it, like the mantis aliens seen during abductions or DMT trips. We ask if we will get anything out of scrying the rest of the aethyrs.

I see a picture of Aleister Crowley – the one in which he wears a triangular hat bearing the sign of the eye in the triangle. He is making the sign of Pan. Triangles and a chrysalis.

Aleister Crowley

That famous picture of Aleister Crowley.

[Note how the design on Crowley's hat is like a messed-up version of Martineau's diagram (circle, many-rayed star, triangle), as if the spirit were trying to give me an image but it was coming through in a distorted form.]

We ask what would happen if we didn’t scry the rest of the aethyrs. I see a musical score. There are signs against the staves: two wavy marks. Do these denote the tempo or mood of the music? They are like two Hebrew letter yods. This is the answer to the question. And now I see another musical sign, like a curly backwards figure 7.

[The two wavy marks are the musical symbol for a rest of a quarter note. The backward seven is an alternative symbol for the same. This suggests three 'pauses', and perhaps means that we will finish up the aethyrs after a break (or three?) of some kind.]

We ask whether the depth of each aethyr is determined by the scryer or its number.

This musical staves have changed into the shape of a seahorse, which vanishes. Now I see geometric forms, like fractals. We go deeper and deeper but keep finding the same pattern. This is the answer. It could refer to either!

[Seahorses are unique in that the male gives birth to the young. In previous workings the seahorse has appeared as a symbol of 'he who gives birth (to himself)'. This suggests that the depth of the aethyr is determined by the scryer. The way that the same pattern is found over and over suggests that the scryer's personality limits what can be perceived.]

Musical notation

Musical notation for 'a quarter note rest'.

We ask what will happen in Aethyr Ten.

I see lots of insects – flies crowding together. A nasty feeling of vermin.

We ask what will happen in Aethyr One.

‘The lid will come off the tub of margerine.’

There is a rose drawn in the margerine. Now I am in a field and there are beings like cows, except they do not move and are fixed into the ground. They are spirits. They are the makers of the margerine! I ask one of them what it is. It gives me 47 and the Greek letter sigma. It’s name is ESAU or ESU. It is like a resonator. All the cow creatures are fixed in the earth but when struck they resonate, which produces the margerine, which goes into the tub, which is what we will find in Aethyr One.

[47 = 'invisible', 'ultraviolet' (both suggesting the outermost planets, maybe) and 'man of earth' (which, we decided, may correspond to Saturn). 'Sigma' stands for 'sum', a hint that the answer to this cryptic symbolism lies in mathematics. 'Sigma' also represents the number 200, the interval of years between each conjunction of Jupiter and Saturn. Esau in the Bible sold his birthright to his brother for a meal of lentils, the implication of the story being that by doing so he proved himself unworthy of it anyway. The myths that surround Uranus, Saturn and Jupiter are similarly concerned with their usurpation of power from their predecessors, on the basis that the preceding generation was unfit to govern.]

Now I see a unicursal hexagram in the distance, written in a golden yellow colour – like the margerine. It’s definitely margerine, not butter, because it’s evidently easy to spread.

We ask who strikes the resonators. The answer is the angel of the aethyr. The margerine is sent down through the aethyrs, from the top to the lowermost. But it is not produced in every aethyr.

We ask who draws the rose onto the margerine.

‘Angels and faeries’ is the answer.

When does the angel strike the resonators?

3838383838383838… is the answer. I get the feeling this refers to some kind of frequency or wavelength. When I try striking one of the cows I introduce a 4 into the pattern, which creates some discord, but is soon cancelled out. I strike it again harder, and get 5s and 6s, but these vanish quickly too.

[These are harmonies built into the nature of reality which the individual is unable to affect. On the 28th of May this year – just after the time we performed the working – Jupiter and Saturn came into conjunction. Many astrologers have emphasised the importance and possibly far-reaching effect of this conjunction upon the course of human history over the next couple of decades. As one of them put it, 'This is the start of a 200 year period of fluidity, of the breaking down of national boundaries, of intellectual capital... [It] will help define the transition from material capital and national boundaries to intellectual capital and cultural boundaries (boundaries based on people being able to “talk the same language”).’]

The virtue of the margerine, I’m told, is explained on the tub, so I look closer at it and discover there are Smurfs depicted on it, blue beings with white hats. I’m given the number 18 and an astrological symbol: an H with a bulbous, dangling bit along the central bar.

planetary glyphs

The standard glyphs for Jupiter, Saturn and Uranus.

[18 doesn't equate to anything relevant in English Qaballah, but it does approximate to the duration of the Jupiter-Saturn conjunction. The 'H' symbol is the astrological glyph for Uranus. So the 'margerine' seems to be the influence of the planetary conjunction that is sent down through the aethyrs and effects humanity. There also seems to be a hint here that Uranus also plays some kind of astrological role in the conjunction.]

I ask the angel if this is the end of the vision, but I’m shown a castle in the distance. It is very cubic, square. I sense we are being told to continue with the aethyrs and that this castle is in one of the future aethyrs. The Smurfs are there.

[The square suggests the number 4, which is associated with Jupiter.]

I want to finish the vision, but the angel is holding me here. I ask him why. I am shown undergrowth again, the same as where the vision started. There are faeries and beings here inseparable from the undergrowth. Letting it grow becomes a trance state. I see something golden: a ring. Engraved all around its edge is the astrological symbol. The ring looks like the crown Oberon wore at the beginning. The ring is a miniature crown. The number 64. I break off the vision.

[64 = 'Do what thou wilt', 'Stele six six six'. Again, this seems to be a hint that Uranus is astrologically important and is perhaps being overlooked. The ring recalls Martineau's diagram, in which the orbit of Uranus is represented as the outer circle ('ring'). One of the moons of Uranus is named 'Oberon'. In astrology, Uranus is 'the awakener' and represents periods of sudden change or revolution.]

An audio montage and cut-up of parts of the ritual.