TAARP - The Corridors of Time

TAARP - The Corridors of Time - Appendix E

APPENDIX E: Magickal Record

This appendix contains a brief account of my Magickal record from October 1975 to April 1979. The objective of the appendix is to demonstrate the interplay of science, history, religion, psychology, mythology, and art that is involved with a thorough foray into the Occult Sciences. To construct this appendix, I somewhat randomly selected pieces of art that I generated over the four-year time period specified above, and then wrote comments for some of the art pieces which provide a little information descriptive of the feelings and ideas associated with them. Unfortunately, in this appendix I only present a few of the art pieces for which I give comments, and I present a lot of art pieces for which I give no comments.

Note that I have included examples of art work done after 1979, but I have only included comments for those done in the 1975 to 1979 time period. Note also that the art pieces are presented in chronological order. Information on the art work done after 1979 can be provided if the proposal is to be given serious consideration.

If nothing else, the art work I generated over the last ten years portrays the psychic processes which define the transformation whereby a 20th century scientist became an artist (of sorts) by performing the alchemical ritual for the Philosopher's Stone. The crude artistic ability characteristic of the 1975 period should be compared with the more highly evolved artistic ability of the 1978 period. For example, compare Figure 1 and Figure 2 of this appendix from 1975 with Slide 7 from 1978.

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FIGURE 1

FIGURE 2

OCT, NOV, DEC 1975

This is the first exercise that was completed by the author in his performance of the formula for the Philosopher's Stone of Alchemical Magick: "Out of man and woman make a round circle and extract the quadrangle from this, and from the quadrangle the triangle. Make a round circle and you will have the philosopher's stone." - from the Rosarium. (See "Psychology and Alchemy", pages 124-138, Vol. 12, "The Collected Works of Carl G. Jung").

FIGURES 3, 4

APR 1976

Notes demonstrating the striking similarity between the symbols that our ancient forefathers from the Eastern Mediterranean used to describe their conception of certain processes of nature, and the symbols used by modern 20th century scientists to describe the oscillating electric and magnetic field vectors of electromagnetic radiation. (See "The Tao of Physics" by Fritjof Capra).

FIGURES 6, 8, 9

12-17 MAY 1976

One of the first attempts by the author to probe into the symbolism of the classical zodiac. The approach was to try to discover some of the correct correlations between symbolic pieces of classical astrology and symbolic pieces of the TAROT cards, The Alphabet of the Magi, and "The Babylonian Book of the Dead". One of the most interesting of the 12 primary zodiacal forms from "The Babylonian Book of the Dead" is:

Not only is it a concise glyph of the integers 1, 2, 3, and 4*, it is a most effective symbol for initiating psychic processes. It should be thought of as a form of the twofold cross. It is used by magicians to ward off eternal destruction and damnation by powerful archetypal forms exactly in the same manner in which the Christian wards off the Vampire with his cross of Christ (See "Christ and Caesar," Volume II of "The Story of Civilization" by Will Durant). It is composed of two parts:

and

A talisman constructed around this basic pattern can be very potent (See Figure 13).

During the construction of the talisman the two parts become individual living entities in the mind. They can live in the mind because they have the art work of the talisman to feed on. These two symbols have a strong natural affinity for one another just as do the proton and the electron. When they come together in the mind, pure raw creative energy is made readily available for direction by the will. Once the mind has learned how to create these two symbols, and how to let them come together in a controlled exothermic reaction, it can use them to hold off powerful forces of attack from ancient archetypes. On many occasions the author has used this "Cross of The Babylonian Book of the Dead" to save himself from destruction by powerful archetypal spirits such as ASMODAY, ASHTAROTH, BELETH, and the Gods of the Metterich Stele Cippus of Horus (see "Amulets and Talismans" by E.A. Wallis Budge, pages 166, 167) from whence came 5 millennia of ancient Egypt aimed directly at the author's third eye.**

*See "Number and Time" by Marie Louise Von Franz for a lucid discussion of the nature of the integers 1, 2, 3, and 4. See also pages 33-78 of "Evolution of Mathematical Concepts" by Raymond L. Wilder. However, most particularly study Aleister Crowley's book "777 and Other Qabalistic Writings of Aleister Crowley".

**It was a very close call. "Not a few of us have perished in the search." (See "Psychology and Alchemy," Vol. 12 of "The Collected Works" of Carl G. Jung)

FIGURE 7

14 MAY 1976

A glyph of the number 13 which was constructed when the author was trying to find any possible correlations between the Beast of Revelations and the horrible Beleth, the 13th Demon of the Descending Hierarchy of "The Babylonian Book of the Dead". The seven headed Beast of Revelations correlates with the XIth TRUMP, of the Tarot cards. The great and almighty sun God of Egypt, Ra, landed at Heliopolis with his seven souls before the pillars of Shu and Tefnut were set up. (See "The Gods of the Egyptians," Vols. I and II, E.A. Wallis Budge). Alexander the Great set up the iron gates which forever held back Gog and Magog, the savage Gods of the Sycthians who from the shores of the Caspian Sea would sweep southward conquering and slaughtering the peoples of Canaan, Syria, Mesopotamia, etc. (See "Alexander the Great," E.A. Wallis Budge.)

FIGURE 10

30 MAY 1976

The Trunk of the Tree of Life as 5. The author's first attempt with color crayons.

FIGURE 11

3 AUG 1976

Accomplished as an exercise to make a representation of the classical zodiac which would demonstrate some of the fundamental relationships between the 12 signs, the seven planets, the three processes and the four elements. This is an exceptionally powerful mandala which can be very dangerous.

FIGURE 12

7 AUG 1976

Some of the notes used to design the talisman of Figure 13.

FIGURE 13

AUG 1976

A talisman for the evocation of ASMODAY, Hebrew demon of rage and lust, the 32nd spirit of "The Babylonian Book of the Dead" (See "The Book of Ceremonial Magic," A.E. Waite, page 205). See "Our Oriental Heritage," pages 268, 269, Vol. I, "The Story of Civilization," by Will Durant for the following passage which will shed some light on the reasons why a being such as ASMODAY could ever have evolved. "Ashurbanipal (the Sardanapalus of the Greeks) reaped the fruits of Esarhaddon's sowing. During his long reign Assyria reached the climax of its wealth and prestige; after him, his country, ruined by forty years of intermittent war, fell into exhaustion and decay and ended its career hardly a decade after Ashurbanipal's death. A scribe has preserved to us a yearly record of this reign. It is a dull and bloody mess of war after war, siege after siege, starved cities and flayed captives. The scribe represents Ashurbanipal himself as reporting his destruction of Elam:

'For a distance of one month and twenty-five days march I devastated the districts of Elam. I spread salt and thorn-bush there (to injure the soil). Sons of the kings, sisters of the kings, members of Elam's royal family young and old, preflects, governors, knights, artisans, as many as there were, inhabitants male and female, big and little, horses, mules, asses, flocks and herds more numerous than a swarm of locusts, I carried them off as boote to Assyria. The dust of Susa, of Madaktu, of Haltemash, of other cities, I carried it off to Assyria. In a month of days I subdued Elam in its whole extent. The voice of man, the steps of flocks and herds, the happy shouts of mirth - I put an end to them in its fields, which I left for the asses, the gazelles, and all manner of wild beasts to people.'

The severed head of the Elamite king was brought to Ashurbanipal as he feasted with his queen in the palace garden; he had the head raised on a pole in the midst of his quests, and the roal revel went on; later the head was fixed over the gate of Nineveh, and slowly rotted away. The Elamite general, Dananu, was flayed alive, and then was bled like a lamb; his brother had his throat cut, and his body was divided into pieces, which were distributed over the country as souvenirs."

"It never occurred to Ashurbanipal that he and his men were brutal; these clean-cut penalites were surgical necessities in his attempt to remove rebellions and establish discipline among the heterogeneous and turbulent peoples, from Ethiopia to Armenia, and from Syria to Media, whom his predecessors had subjected to Assyrian rule; it was his obligation to maintain his legacy intact."

FIGURE 14

13 AUG 1976

Some of the notes used for constructing the mixing function of FIGURE 20.

FIGURE 15

15 AUG 1976

A demon of the class of Mephistopheles (See "The Secret Teachings of All Ages: Masonic, Hermetic, Qabbalistic, Rosicrucian Symbolical Philosophy" by Manley P. Hall, page C1) and Bes (See "Egyptian Mythology" by Veronica Ions, page 106; and "The Gods of the Egyptians" by E.A. Wallis Budge, Vol. I, page 498, Vol. II, pages 136, 209, 270, 276, 280, 284).

FIGURES 16, 17

AUG 1976

Two of the primary zodiacal forms from "The Babylonian Book of the Dead".

FIGURE 18

AUG 1976

The so called Pentagram of Solomon without which the magician would be hopelessly destroyed if he brought forth into visible appearance a spirit from "The Babylonian Book of the Dead". This Pentagram displays the 5 hoared souls of Ashtaroth. These are the "five unsleeping stars." See "The Equinox" by Aleister Crowley, Vol. I, No. 3, page 170 for "The Ritual for the Evocation Unto Visible Appearance of The Great Spirit, TAPHTHARTHARATH." Also see "The Book of Ceremonial Magic," A.E. Waite, page 222.

FIGURE 19

18 AUG 1976

A glyph of the number seven in an attempt to make the seven planets manifest as a whole. This mandala and the zodiacal mandala in Figure 11 are used together to make the zodiac come alive as a mechanism. The mandala in Figure 11 is very dangerous and can result in the destruction of the ego if improperly used.

FIGURE 20

26 AUG 1976

A very powerful generalized mixing function. The black border stabilizes it, the red/violet gives it energy, and the yellow-green gives it something to live on. This mandala is a very experientially effective mechanism for dancing the rational scientific mind into the analeptic/proleptic world of the artist.

FIGURE 21

29 AUG 1976

A visual image which first hypnotizes the ego, and then at some time in the future appears to wink or blink (due to a cross-coupling of complimentary color pairs), thus jolting the ego to a different level of consciousness. This is the digital or quantum version of the wave like phenomenon of Figure 20 which gently and slowly transitions the mind from a rational, cause-effect mode to an analeptic/propleptic mode (See "The White Goddess" by Robert Graves, pages 342, 343). The author never practiced enough with this quantum mechanism to test its true utility. The wave mechanism, however, has been thoroughly tested and is exceptionally effective.

FIGURE 22

SEP 1976

The author's first real stroke of art with pencil is in this figure. It is the stroke that comes down from the outside of the left eye to about the region of the bridge of the nose below the left eye.

FIGURE 23

SEP 1976

The author's first real work of art with pencil and color crayon.

FIGURE 24

OCT, NOV 1976

The instruction the author gave himself for this figure was to make four symbols while thinking about the 4 elements - fire, air, earth and water.

FIGURE 25

OCT, NOV 1976

The 7 planets in their most recently evolved forms within the classical zodiac.

FIGURE 26

OCT, NOV 1976

The instruction was to make 7 things. It was very difficult for the scientist just to simply make 7 things without reference to anything. The instruction came in a moment of inspiration while the author was riding the Kundalini.

FIGURE 27

13 NOV 1976

Using pastels to explore one of the 12 primary zodiacal forms from "The Babylonian Book of the Dead".

FIGURE 28

JAN, FEB 1977

An advertisement for classes in the occult sciences.

FIGURE 29

JAN, FEB 1977

An advertisement for a class to be taught at the Yellow Springs arts council in Yellow Springs, Ohio concerning the subject of the so called TAROT cards. This advertisement demonstrates a form of art which is a singularly economical use of space. The only extant document available to the common man which contains a full and correct account of the seven planets of "The Babylonian Book of the Dead" is "The Key of Solomon the King (Clavicula Salomonis)" translated and edited from manuscripts in the British Museum by S. Liddell MacGregor Mathers.

FIGURE 30

SPRING 1977

The "Eye of Anamopolis." Too much data and not enough art to be a good talisman.

FIGURE 31

SUMMER 1977

A demon. For a comparison of the relationship between the archetypal demons Lucifer, Paimon (9th demon of the Descending Hierarchy of "The Babylonian Book of the Dead"), and the being of the XIth TRUMP of the TAROT cards, see:

The XIth TAROT trump by Aleister Crowley and Lady Frieda Harris.
"The Book of the Sacred Magic of Abra-Melin" translated from Hebrew and edited by S.L. MacGregor Mathers, page 110.
"The Book of Ceremonial Magic" by A.E. Waite, page 198.

FIGURE 32

SUMMER 1977

The author's first creative use of acrylics.

FIGURE 33

SUMMER 1977

The pencil drawing which led to Figure 53.

FIGURE 34

SUMMER 1977

A mixing function for attempting to gain insight into the unknown symbol for the Goetic Being, AMAYMON. "ASMODAY, a strong and powerful king, appears with three heads, the first like a bull, the second like a man, and the third like a ram. He has a serpent's tail, the webbed feet of a goose and he vomits fire. He rides an infernal dragon, carries lance and pennon and is the chief of the power of AMAYMON. He must be evoked bare headed, for otherwise he will deceive. He gives the ring of virtues, teaches arithmetic, geomancy and all handicrafts, answers all questions, makes men invisible, indicates the places of concealed treasures and guards them, if within the dominion of AMAYMON." From "The Babylonian Book of the Dead". See "The Book of Ceremonial Magic" by A.E. Waite, page 205.

= AMAYMON


AMY - the 58th spirit of the Descending Hierarchy of "The Babylonian Book of the Dead".
AMON = AMEN - The 7th spirit of the Descending Hierarchy of "The Babylonian Book of the Dead". The great Egyptian God, Amen, was married to the great and primeval God, Ra, by the priests of Amen at Thebes in the 18th Dynasty, 1580-1322 B.C. This is the "Amen" of the Christians, who pronounce His name at the end of each prayer, absolutely ignorant of what they say. Here is part of what Aleister Crowley says on P-32 of the section on Gematria in his book "777 and Other Qabalistic Writings of Aleister Crowley": 91 = 7 x 13, the most spiritual form of the Septenary. AMN, Amen, the holiest title of God; the Amoun of the Egyptians...".

FIGURE 35

SUMMER 1977

The zodiacal configuration of "The Babylonian Book of the Dead". Only two of the six symbol sets comprising the Babylonian zodiac are presented here in their entirety. These two symbol sets are the 72 demons of the Descending Hierarchy and the 12 primary zodiacal forms. Some possible correlations to the classical zodiac are also presented. None of the correspondences given in this diagram should be assumed to be correct. Some of the correspondences are correct.

FIGURE 36

OCT 1977

An incomplete talisman using artistic structures of the archetypal order of the Meroites, 3rd century B.C.

FIGURE 37

23 DEC 1977

This is a very unusual drawing in that it shows at least three stages of artistic ability. It all came quite spontaneously as the author talked with two friends. The section in the lower-center field of view is of interest because it is a representation of art of the archetypal order of "The Babylonian Book of the Dead". This can be readily discerned by comparing it with certain symbols in A.E. Waite's "The Book of Ceremonial Magic."

FIGURE 39

20 FEB 1978

Notes for the design of a mechanism to trigger the opening of the 3rd EYE. See the Eye of Shiva and The Eye of Horus in "The Book of Thoth" by Aleister Crowley, page 108. The XVIth TRUMP,

of the TAROT cards.

FIGURE 40

2 MAR 1978

The first sign for The House of Thoth.

FIGURE 41

14 MARCH 1978

A talisman for creating creative energy.

FIGURE 42

31 MAR 1978

The following event was associated with this crude generalized talisman:

A demon came forth from his caverned underground, sat down, and attempted to communicate with the author. This occurred in a dream. This demon is madness incarnate. He is frustration, schizophrenia, drunken rage and Assyrian cruelty all compressed into one. He stepped from behind a black curtain. He sparks with electricity. He stings like a thousand African killer bees. He strikes like a thousand deadly vipers. The author conferred upon him the title of "Wasp Man Black".

FIGURE 43

2 APR 1978

The author's first pastel drawing of a mechanism using art of the archetypal order of "The Babylonian Book of the Dead".

FIGURE 44

16 APR 1978

Incomplete. The author's first attempt to construct a talisman with pastels.

FIGURE 45

22 APR 1978

A very good design for a talisman. A nice blend of art and science. The name of the archetype to be evoked is written in the Alphabet of the Magi. This is the signature of the spirit which is to be evoked into visible appearance. It is Phoenix, the 37th demon of the Descending Hierarchy of "The Babylonian Book of the Dead". The signature directly below the signature written in the Alphabet of the Magi is the signature of art. It is a pure creation of the author's mind. It is the name of the art work of the talisman in the same sense that the Magi signature is the name of the spirit with respect to verbal speech and "The Babylonian Book of the Dead". The talisman in this figure contains several scientific errors. For various reasons it was not effective for the author. Note that the 22 letters of the the Alpha Bet of the Magi correspond with the 22 Trumps of the Tarot cards, as do the 22 letters of the Hebrew Alpha Bet. The 22 Trumps of the Tarot cards comprise the single most important archetypal system currently operational within the collective unconscious mind of Western man, manifesting perhaps in its purest form in the Jew of Palestine. It is to be expected that after an attack as effective and gruesome as the panzer divisions of NAZI Germany, the proud and ancient system labeled, Jew, would respond with great vigor. Thus the Jew of Palestine affixes himself strongly to his ancient homeland. Note also that only a small portion of the German people remain actively possessed by the old Germanic war God, Wotan. (See "The Archetypes and the Collective Unconscious", Vol. 9 of "The Collected Works" of Carl G. Jung, pages 24, 226, 246, 248, 339). See "Magic, An Occult Primer" by David Conway, pages 253-256 for a printing of 11 ancient magical alphabets. See "The Equinox" by Aleister Crowley, Vol. I, No. 2, pages 295-334 for a vivid description of an account of his being given a sigil by his collective unconscious in order to guide his ego through various caverns of the archetypal mind (FAUST/MEPHISTOPHELES, DANTE/ VIRGIL, ALEISTER CROWLEY/HOLY GUARDIAN ANGEL). See "Man, Myth, and Magic," Vol. 24, pages 3244 and 3245 for examples of talismanic art/ science by Austin Osman Spare which are as potent, powerful and true as any talisman ever constructed by the, hand of man.

FIGURE 46

23 APR 1978

The author's first good generalized talisman.

FIGURE 47

24 APR 1978

"Atu VII refers to the zodiacal sign of Cancer, the sign into which the sun moves at the Summer Solstice."

"Cancer is the cardinal sign of the element of Water, and represents the first keen on rush of that element. Cancer also represents the path which leads from the great Mother Binah* to Geburah, and is thus the influence of the Supernals descending through the Veil of Water (which is blood) upon the energy of man, and so inspires it. It corresponds, in this way, to the Hierophant, which on the other side of the Tree of Life, brings down the fire of Chokmah." See "The Book of Thoth" by Aleister Crowley, pages 84-85.

*See "The Great Mother" - Erich Neumann

FIGURE 48

24 APR 1978

A very good generalized talisman demonstrating an interesting stage of art in between hieroglyphics and portraiture.

FIGURE 49

27 APR 1978

A generalized talisman with good artistic richness. To be a true talisman with effective utility it needs only the symbol of a specific spirit and that spirit's name written in the Alphabet of the Magi.

FIGURE 50

11 MAY 1978

Unfinished generalized talisman.

FIGURE 51

JUL 1978

One of the author's crude attempts with acrylics. "The Thinking Eye" by Paul Klee is an excellent point of departure for students of the Occult who have no artistic ability.

FIGURE 52

AUG 1978

The author's first complete talisman. "We are ZOROASTRIAN. We speak for the Sun." came spontaneously from me due to this talisman.

FIGURE 53

SEP 1978

Incomplete. The author's only interesting use of acrylics as of this date.

FIGURE 54

DEC 1978

Incomplete, acrylics.

FIGURES 55, 56, 57

16-29 MAR 1979

An interesting example of what can evolve through a disciplined repetition of a particular form of art.

FIGURE 58

8-25 APR 1979

The author's first effective talisman. Designed to evoke the 12th spirit, SYTRY, of the Descending Hierarchy of "The Babylonian Book of the Dead". See "The Book of Ceremonial Magic," page 199, A.E. Waite. A very effective talisman with an admirable balance between art and hard archetypal data. It contains only one scientific error.


Glendower:	I can call spirits from the vasty deep.
Hotspur:	Why, so can I, or so can any man;
	But will they come when you do call for them?

		Shakespeare, Henry IV, Part 2