Perseus Arcane Academy

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  • Reviewing Jake Green’s “The Evocation Masterclass” by Andre Consciência

    Reviewing Jake Green’s “The Evocation Masterclass” by Andre Consciência

    Introduction

    Thanks to Andre for contributing this post that was originally in The Silver Star Journal 2025 (A Journal of New Magick) which is now published and available via the following links :

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    Free PDF (Google Drive)
    The Evocation Masterclass:
    Complete Universal Evocation and Invocation
    A course by Jake Green
    A Review by André Consciência

    Course available at:

    The Evocation Masterclass: Complete Universal Evocation and Invocation

    Eight months ago, Jake Green was so kind as to review one of my courses, connecting Franz Bardon’s methods to the Golden Dawn methods of addressing ceremonial magic (Ceremonial Magick and the Franz Bardon Tradition). This half-hour review can be found here.

    I was quite curious about his own work, which I had only met from the outside and through articles and interviews, and had a mind to return the favour. From out of his courses, I chose “The Evocation Masterclass”, although I was warned by Jake that this was truly a course more dedicated to invocation than evocation.

    Now some may know that Jake comes from a particular branch of hermeticism called hermetics and, inside it, from again a particular successful branch initiated by Sifu Mark Rasmus, who joins his own methods and Tai Chi mastery with Franz Bardon’s methods. What I like about this lineage is that Mark Rasmus’ students seem to be creative teachers, each one with his or her own methods. Jake Green is the youngest I know and one of the brightest. His style links yet another methodology that, as a Shinpiden, I can identify: Reiki.

    I think understanding Reiki could be a key to easily understand the work at The Evocation Masterclass. Now Mikao Usui, a Japanese Buddhist Monk, the father of the energy medicine and spiritual practice called Reiki, developed it to help those in need without having them go through all the discipline required of a monk, especially when people were not in the right condition even to consider it. After 21 days of meditation, fasting and retreat, Usui came down from Mount Kurama enlightened with a methodology of transmission that would accelerate enlightenment and healing. Jake brings this same kind of reductionist energetic quickness and easiness to hermetics.

    Can Reiki substitute years of monastic life and its associated rules and practices, can it replace a Buddhist monk training and make one a Bhikkhu or Bhikkhuni? It cannot, nor is it intended to. A Buddhist monk, likewise, is not a Reiki healer. So for hermetic practitioners, this course cannot substitute Initiation Into Hermetics plus The Practice of Magical Evocation, by Franz Bardon, but it remains its own thing by right, and a good thing. Finish it, and you will have an easy time completing hermetic training in other venues. On the other hand, complete Franz Bardon’s training and you will already have the capacity to do all within this Masterclass easily, but these ideas and distillations are Jake’s, and I promise great fun and creative exploration to the mature magician who still commits.

    Should we consider the Double Current, neither Crowley nor Nema came up with great systems of evocation (and neither does this Masterclass), but both had quite effective invocation practices. The advantage of this course is that more than a particular practice, it is indeed a whole system and is huge and effective enough. Can it replace Crowley’s “Liber Astarte” in all its depth? It makes no sense to me to speak in such terms. A work of art cannot replace another.

    What I know is that this masterclass, if you have the spare money, will fill in a systematic gap concerning invocation that I find in most modern magicians. And because the Silver Star is called “A Journal of New Magick” I imagined it as a good place to review it, not only because it is entirely new magick, but because it is lacking in new magick.

    Maatian magicians will find in the flesh methods of dancing the masks and literally rising on the levels in the face of any obstacle, as suggested by Nema in Maat Magick’s level 4. In terms of Maat Magick, this course covers subjects from level 10 to level 4, and avoids risking going any further.

    So what does this course teach exactly?

    First, the lessons on the attitude with which to address the course itself are priceless and should be paid the utmost attention. No method works without the proper attitude, and Jake takes his time addressing the right attitude for the context of this work. On top of it, Jake deals with transmissions, meaning the teacher himself synchronizes the student with the necessary energies or reality tunnels, the same as in Reiki. Along with the teacher, the beings invoked themselves will deepen this synchronicity. Methods of mental transference are taught kinetically, which makes it quite easy for anyone to grasp, and from there on, we engage with the ritual tools.

    Here, no ritual tool is taken as necessary, and all tools are optional. It is, however, necessary to develop what they symbolize. One’s clothes are isolation from outside interference, purity, and protect the body when we leave it. The crown, hat or headband is a barometer to measure one’s vibrational field and how high it remains. The wand is expansion, considered a conductive instrument, like the wand that conducts the orchestra, dynamically conducting the symphony of forces and spirits. The sword, symbolizing total victory, bears the feeling of complete fulfilment, and is attuned to Bardon’s cosmic letter U, the inflamed principle of the ether that modifies karma through the state of trance of the void. The lamp syncs one’s inner light with the light of the spheres. The censor infuses the experience with the quality of the aroma, which is pleasant and memorable. The mirror or crystal ball focuses the mind like a TV screen by relaxing peripheral vision. The magical journal makes all knowledge your own and distils it into perennial wisdom.

    The circle is paramount to the whole work, and is attuned to the cosmic letter E (The Key to the True Quabbalah), the letter of universal consciousness, omnipresence, a sense of astral consciousness throughout all times with the power to materialize or dematerialize anything. It is drawn or rather invoked from the crown chakra to one’s feet. The triangle is used within the circle for invocation, and outside for evocation, it represents the three dimensions we need in any object of perception, and functions as a battery, being able to draw power from Nature and one’s surroundings into the operation.

    The mission of the tools bearer? To birth new ideas for humanity. In line with it, I like Jake suggests as part of the preparation that one develops a cosmopolitan mind, travelling to know new cultures and dispose of cultural paradigms.

    The psychological effects of the seals are briefly addressed, although Jake prefers addressing seemingly an intuitive light of the being directly. Pentacles are like seals that, instead of addressing beings, address our own capacities in order to enhance them.

    Serving spirits given by “higher spirits” are said to listen to the magician’s subconscious constantly and to attune the magician according to function. These spirits are worked with, one for each element, so as to create magical equilibrium, that is, elemental equipoise.

    Jake expresses, as well, the matter of accountability popular in the magic of evocation, that is, the more you ask or accept of a spirit, the more you owe the spirit and will have to serve it in this life or the afterlife. I disagree with this Western economic view and have always been more of an Eastern mind. One is accountable to one’s conscience alone, and to one’s servitude to ignorance. Projecting this responsibility into an exterior object, even if we call it a being, is not understanding our own inherent disembodied nature, nor the being’s. Karma means false belief, and it breeds under ignorance. That is all we need to know about our accountability. A being does what is in the nature of its light, and so do we. If we deviate into the light of a being and its center by obfuscation, we may take our time to return to our center, which is what the metaphor of contracts and so on means.

    All the introductions having been given, we pass on to the practice, learning to separate in our thoughts the observer from the observed (further likely necessary techniques of mind control are mentioned but not engaged with), deepening mental transference and then pore breathing vital force. From this vital force we pass on to the astral energy by creating the sensation of slowing time up to a sense of timelessness and eternal now. Then, mental energy, extending the sphere around us up to a sense of spacelessness. One starts breathing in timelessness and breathing out spacelessness, concentrating on the pauses in between which lead to the so-called magical trance, or akashic trance, a timeless and spaceless mode of perception and existential condition. The akasha forms the circle and from there on we circulate between the akasha (minus) and non-dual light (plus), the pillar of light completing the magic circle.

    This shapes the basic principle behind the rituals of invocation that are to follow, and is to be completed by elemental postures and stances not unlike those of Tai Chi, where we breathe the four elements and understand the difference between the magnetic and the electric. These postures are differentiated via the sensations and colors being drawn in and out, and the direction of the stances, forward, inward, upward or downward.

    At this point the most delightful introduction to invocation is given via masks. It is delightful to me, as an actor and plastic artist who uses enlivened masks in my performances, and, I believe, to all Maatian magicians who dance the masks in their daily lives. The mask is loaded from the crown, hands and eyes, much like in Reiki, but with the akasha and then the light of the being or deity we wish to animate it with. We give it depth and detail and aliveness by adding the four elements, one at a time, in completing layers.

    The course at this point points to the first adventures of mental wandering (commonly known as astral projection with the subtle body and not the dense astral body or etheric body under its physical comatose requirements). We conjure the circle as mentioned before, leave again through the crown chakra and start visiting the elemental kingdoms. First we move invisibly, camouflaged by akashic substance or imagining that we are a tiny spark. It is recommended that we only engage with elemental beings and become visible after three months have passed of us immersing ourselves in the elemental kingdoms, so as not to pass as fishes out of water or to incur in any danger.

    At this point, all is fine to the ones with natural talent, but I believe otherwise people will benefit from training elsewhere their imagination, such as fixing images, sounds, odours and so on, combining them, and making them clear and stabilized enough, unless visions become vague and faint. That we have, in this course, trained separating the observer from the observed several times and for several minutes will help us recall our journeys, and in this regard, we are well served. Be that as it may, repetition and insistence on mental wandering will make up for the previous lack of training.

    Generally, in Egyptian Magick, Bardon’s hermetics, and most theosophical schools, we create the mental and astral bodies. One thing is to delve into mental states, astral states and etheric states, as in the three transformations taught within the masterclass; another is to give these states a body with its own mechanisms of operation and organism. To compensate, Jake leads us to take the shape of the elementals after saturating our bodies with the elements. As a matter of style, Jake does not specify the mechanics or shapes of these bodies, so as not to lead one to attachment to any particular shape and mode of functioning. I think this may be both beneficial and not, since we may again fall into a blurred experience, a lack of precision and definition.

    On the same line, we are left lacking the development of extrasensory abilities and the ability to test them in the field. This makes it so that many of our journeys may take place only as guided meditations. But again, with repetition, via transpersonal psychology, one will inevitably and eventually fine-tune to the elemental realms in a metaphysical sense.

    Since we haven’t yet started to work with the serving spirits, we begin our mental wanderings with a strong potential for imbalance, lacking magical equilibrium. The associated risks are avoided by making sure we leave through the crown chakra (always bound to self-transcendence), a focus on equanimity is enforced and we are reminded of an attitude of non-attachment.

    We are also taught repeatedly to avoid aggressive beings altogether in our path of invocation and posterior evocation. This takes place because the course does not teach us a method by which to reach the state of the Godhead. This is later compensated by the integration of all the heads of the Sun Sphere, who are responsible for all original ideas. Jake uses the word negative for active aggressiveness and at the same time for the negative pole, but then ends up equating negative with bad. There are no bad entities in the eyes of the Godhead, no matter the sphere, kingdom or plane (Jake himself adopts this point of view as his own, initially, and I assume thus his later stance is a matter of responsibility towards the student’s wellbeing and safety, a sign you are still in good hands).

    Jake finally leads us to a place between form and the formless, where he himself initiates us by direct transmission into the akasha and the principle of light. It could be said the student would have benefited from this earlier, however, this may as well be the perfect timing since the student already has a practical idea of both the light and the akasha, and will be able to tap into what is being given, empowering and calibrating skills already acquired. We cannot create anything in another via transmission, we can only add to what the other has cultivated.

    The light we are receiving is programmed for success in evocational magic (although we are dealing with invocation, successful evocation requires a successful invocation and includes it). Solar currents from solar heads are integrated in the transmission, and one may question why pick the Sun and not the Moon, since the Moon is the item of the Priestess, the card of evocation, and since the Moonsphere is the sphere of the astral planes and their manifestations by excellence. The sun is hermetically and alchemically marked by that dot in the center of the circle, and this dot is the center of the universe, the universal central candle that sheds the light of creation around it, the supreme deity, Hadit, the Godhead or, as known, the magician ready to evoke in the middle of the circle.

    We pass to creating elementals. Some distinguish between elementals, as beings of a particular element among the four elements, and elementaries, automatic beings made of mental and astral substance meant for a certain end, kind of robots running on mental energy circuits. Which of the two is Jake working with? I’d say elementaries, according to context. I find it very interesting that the training Jake has us undergo starts by first becoming conscious of the elementaries (including egregores) that already surround us. There is a remark around these lessons that I find myself in the duty to debate. Jake, as an example, tells us to avoid any thoughtforms or egregores from Persia, since these do not understand our times and would be harmful. Although Persia is gone, the religion of Persia is very much alive, influential and organized, and as it was ahead of its time then, it still is now aligned with all European ideals of the future. This religion is called Zoroastrianism and it is far more relevant to the present needs than the religions of Islam or general Christianism, which have become somewhat outdated within cultural evolution. Within monotheism, it is matched only by progressive Judaism. In fact, any magician practicing, including the one formed by this very masterclass, is following the precepts given to us by Zoroastrianism, and the word magician is a progression of the Persian word magi. As a concept, it remains the same. One of the movies “Exorcist”, endorsed by the Catholic Church, is mentioned as a reference about what can happen if one engages with Persian thoughtforms, and it is not a great example since this is a distortion enforced by Catholicism.

    Such distortion, be that as it may, was not really towards Zoroastrianism or Persia, but targeted at something else in the region and further back in time: Mesopotamia. We are referring to Pazuzu, a demonic deity that was already feared back then as a bringer of plagues, misfortune and an underworld power. Jake does tell us, in a way, to avoid any influences from outside our modern times, but the Sumerians could have taught a magician that Pazuzu was used even by the commoner in talismans to ward off negative influences and spirits, just as Set defended Ancient Egypt from Apep. There is something to learn about this, and if the magician cannot be a cosmopolitan in space as well as in time, he lacks the necessary material to be a scientist of what brings together the human and the universal. In fact, the magician cannot be a magician therefore, the expansion of consciousness blocked by the blindness of his mortal age, unable to bring forth the new ideas to the world that appear as the very mission of the magician in this great masterclass. As a final note, let us remember the deities of Sumer still have some minor following even today. I recently wrote a 30 pages article for Inannothology II (Eanna Press) on how Inanna might be one of the deities with a greater hold on our modern urban life, leading evolution from Eridu to Ur, and from Ur continuing to our industrial revolutions and technological eras. Let us not forget that it is the Forgotten Ones that most control us, not the surface objects, and although Nema brought this to plain mystical broad daylight, it still is fundamental Freudian psychology. Having it said, Jake’s advice is still wise and correct, and for this very reason, because the student is not yet equipped to handle the influence of the Forgotten Ones. After anchoring the students in the Sun Sphere, Jake will lead us on an excursion through time to the mystical abodes of Ancient Egypt.

    Back to the elementals/elementaries, we give the elemental about to be created a name (Jake does not advise unique names but combinations of names of generic things, so as to later dissolve the elemental back easily), a timeline of existence for the elemental, an associated color, a purpose, and a shape (Jake suggests a white sphere – also covers color – to avoid attachment not only from the magician but from the being to its own self and self-perseverance). The timeline to use during our training is about 7 days, short enough to test real effectiveness and recalibrate our efforts with the next elementary. These elementals are created via non-dual light, and so vampiric phantoms are avoided: the result is that we, luckily enough, do not get what we want, but what we need.

    Jake offers us a great idea on how to easily keep our elementals charged by loading crystals as their batteries with the four elements, light, the akasha and quabbalistic frequencies. We are instructed on this performance, only having to repeat once a week.

    We move on to invoking the planetary oscillations. By equalizing with them, we gain immunity from their astral influences for once, and boost their inspiring influences and insights. We are advised to work with these oscillations only on the scale of elemental equilibrium, and at last we enter deep waters, invoking the native beings. In case we wish for a specific being not listed in any grimoire, Jake gives us a kind of hack to invoke directly from the Brotherhood of Light. This name comes from “Frabato The Magician”, a book inspired by the life and character of Franz Bardon, with some directives given by the author before imprisonment. I have developed my theories (and still have some to reveal) about the nature of this Brotherhood, but, roughly speaking, we are referring to what is commonly known as The Great White Brotherhood, from which also Aleister Crowley devised the A.´.A.´. Jake suggests we do not ask for the names or seals of these beings and keep non-attached to them. I find advantages and disadvantages to this, but it is a unique suggestion that I haven’t seen anywhere else, and since it has indeed its undeniable advantages, it is to me an original idea that inspires admiration.

    We are then to attune ourselves by invocation with our particular master in each sphere, but Saturn and Mars keep being left out. This safeguard exists as well in Bardon’s “The Practice of Magical Evocation”, although what Franz Bardon does is omit the seals of these beings, since the mature magician will be able to get them in any case, thus preventing the abuse of curiosity. I suggest you leave indeed Mars and Saturn out at this point, if all you have to draw on for the time being is this Masterclass and you are not yet particularly advanced in its materials. I do not suggest you leave these spheres out permanently, since it leads to magical imbalance. For instance, Jake suggests we work with the masters of the spheres to eliminate karmic residues attached to the corresponding astrological influences (the release of any hooks by which the spheres control the magician), but how can you do it effectively if you don’t clean Mars and Saturn, Saturn being exactly the place for this? So, I would interpret Jake’s dismissal of these spheres as a precaution to the student, not as a precaution to the Adept. Jake likewise enforces the idea of ascension, but tells us to avoid Neptune, the sphere of ascension by excellence. The case has, in my view, the same motivations, and Jake mentions it could be okay to explore these spheres if well-centered in the sphere of the Sun. This solution speaks undoubtedly of his experience and earned wisdom.

    At this point, we invoke the elementals (not our elementaries, the elementals that are the nature sprites of the four elements). After invoking the elementals, we can now work with their serving spirits and refine our magical equilibrium. Usually, this is done before working with the spheres, but in this case we have obtained an advantage over the swaying of the elements by gaining immunity to astrological influences. Included and central to it all is a “quadrapolar” exercise that reunites all four elements and connects them in their polarization ( fire + – water | fire + – air | air + – earth | water + – earth ), forming a magical current. This at once solves the problem of magical equilibrium, except for the lack of introspection potentially occurring in this system. I say potentially because if you are doing the work right, the beings will lead you to it eventually. But you cannot expect the serving spirits connected to your subconscious to do the conscious work of character refinement that is yours to do, and the astral equilibrium, that is, the energy work of balance, cannot substitute psychological healing and integral balance. In other words, energy work functions as treatment; it may restore function and null disharmony, but it does not always unroot the cause.

    This quadrapolar volt can be used around us in invocation (in conjunction with the circle containing the triangle) or in evocation, the four elemental beings evoked placed around the exterior triangle and securing the evocation, which Jake suggests is only necessary when working with dangerous entities. So, although the course specializes in invocation, it does lead all the way to evocation that works.

    Say you are invoking a salamander, you engage akashic breathing into the circle, the light fills all the way to the pineal gland and heart, and downwards the astral light flows to the dantian, and the vital force. Then you assume an electric posture, create fire inside, invoke down the light of the particular salamander, its mental body, then its astral body and, if necessary, a serving spirit. To dismiss the entity, you allow it to leave from where it entered, the crown chakra. During evocation, Jake gives the elementals the shape of elemental pillars.

    Working in unison with us, Jake proceeds to send us directly the planetary lights, this time including up to Neptune and Pluto, and gives us a technique called The String of Pearls, in which you accumulate the planetary oscillations by invoking them from the crown chakra down one by one, via the casting of the circle/pillar technique that serves as a base to the artistry hereby given. We then mental wander to these spheres, and invoke specific monarchs and heads, in the Moon removing negative biorhythms; in Mercury cleansing our mind of intellectual constraints and visiting the akashic library; in Venus we become more impermeable to attraction and repulsion and visit a secret mirror; and the Sun sphere comes again quite central to the whole operation, connecting celestial (macrocosm) and terrestrial (microcosm) streams, having us gain universal consciousness and faculties and hyper-charging our circle from here on. The work of invoking the being stops in the Sun when it comes to the spheres, but concludes by working with Ancient Egyptian deities (Jake does work with ancient spirits, but asks us to be sure we have a firm foundation now).

    Nearing the end of the course, we are introduced to a level which seems to me of the utmost importance, but that isn’t given a lot of time, and that has been inserted as a bonus. It is called “Using Light to Work with Initiation Into Hermetics”. The exercises cover one of the first practices by Franz Bardon, thought observation, and suggest we invoke planetary light oscillations, observe our thoughts for a period of time, and then write it all down, comparing notes. It follows on to concentration and vacuity, and puts on the table we can use all kinds of light, be it elemental, planetary, quabbalistic frequencies, and so on. This level, which has only one thirty-minute lesson, could become a work of genius. Just like I reworked Initiation Into Hermetics through the lens of the soul mirror technique, Jake suggests a picture in which the whole system is worked through the light. Also, it is mentioned that since the magician is now an Adept firm in the Sun, the initiation books have all opened their secrets. I do agree with Jake. And this idea of using light, this light of an idea, can be shed on books like Book Four by Crowley, Maat Magick by Nema, and not be limited to IIH.

    All this having been said I give my congratulations and admiration to the teacher, and vividly recommend the materials.

    After being gifted with some “combos”, meaning combined fast invocations that work like formulas for certain ends, we finish with another bonus course: “Automatic Writing”. This is the stuff of books like Liber Al vel Legis, Liber Pennae Praenumbra, The Wisdom of S’lba, and so forth. Now, thanks to Jake, we can freely and easily birth these new ideas onto the face of the Earth.

    All this having been said I give my congratulations and admiration to the teacher, and vividly recommend the materials. The Masterclass towers high above the average and might be the best course I’ve seen on Invocation. I stress that it could help having some natural talent or inspiration, or at least some minor magical training or holistic activity (Reiki can be an example), and you should practice everything Jake presents: this is no spiritual safari tourism, face it like that, and you will be looking to the face of man meditating with closed eyes and breathing deeply. Guess what? This person should be you.

    In case you are in a learning spree and wish to complement this course, picking from other Perseus Arcane Academy courses I know, I’d recommend my “Magic & Mystical Introspection” to help with lacking magical introspection techniques, my “Elemental Magic Course” to complement the lack of structured elemental bodies and organs as understood on the different planes (both courses form a bundle) or the Neoshamanism course level 1 to quickly and easily create your own mental body. I’d also recommend “Attaining Your Guardian Angel” by Denny Sargent. Jake tells you to use your guardian genius if you have known yours, and although we do get to invoke our Higher Self during the Masterclass, no practical or theoretical instruction is given about the Guardian Angel as an in-between term. It is quite handy to have one around when you are parading like Dante in paradise, and Denny Sargent can, in simple terms and comprehensively, bring about your own Virgil. For specialization in evocation you can follow to Nenad Talerman’s “First Step to Divine Providence – 310 days of one-on-one supervised training”, and to sediment that Godhead state, I’d dare say my “Ceremonial Magic and the Franz Bardon Tradition level 3 – The Grand Ritual of Invocation”, but since it requires, even for a simple understanding of what is going on, that you complete the previous two levels, I recommend instead that you do not give up Initiation Into Hermetics level 10.

    Whatever system you are coming from, if you engage in this awesome “The Evocation Masterclass” to the end, I am wishing you apply those lights to great grimoires and holy books, or scientific books and mathematical puzzles, and hope that you, now so well equipped, may come to write your own celestial gifts.

    A Guide to Sphere Quabbalah

    This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

    Learn more
    A Guide to Sphere Quabbalah by Andre COnsciencia
  • Sixty Skills Curriculum Explained

    Sixty Skills Curriculum Explained

    Introduction

    Welcome. The aim of this post is to provide what is currently the most in depth look at the five part SixtySkills curriculum, below I post the video version and the transcript below.

    2026 UPDATE: We now have a new and improved page showcasing EVERY course in the 5-pillar curriculum. HERE.

    Comprehensive Overview

    PAA: Can you provide a detailed explanation of the five stages within the Sixty Skills curriculum? How does each stage contribute to a practitioner’s journey towards magical independence?

    Okay. We start with the master course, which is essentially Sixty skills that are universal in meditative practice that you need to master to engage all of the different magical, meditative, and yogic phenomena that are out there. It’s pretty comprehensive. It covers everything from mind to energy, or, if you will, uh, astral-type work, to body training and physical work. That’s the first stage. These are the basic skills, again, you need to engage in magical practice to begin with.

    Following that, we get into what is now known as letter magic, or sometimes referred to as quabbalah. This is probably the oldest form of known magic out there, and essentially you start with the elements, then you work with all of the sub-variants of the elements. This allows you to manipulate reality at an aosic, mental, astral or energetic, and physical level, depending upon how it’s applied.

    Following that, we go into planetary work. Now, the planets are largely energetic, or, if you will, magical in nature, but the reason why you want to learn to work with them is they are, unlike the elements, intelligent. By being able to work with the planets, you can engage various intelligences that cover every possible field of human endeavor. Additionally, the planets have a huge effect upon your emotions and mental stability, so by staging your exposure to them you become more immune to their effects and therefore more independent in your ability to act.

    Following that, we work through the zodiac, or the stellar or celestial formations. There are, in fact, 12 of these, and these are the ones associated with astrology, but, unlike in astrology, we will harness the forces of these directly. While they are largely mental in nature, they have a huge impact upon how people perceive the world.

    Following this, we reach the final stage in the Sixty Skills system, which is working with the powers of the Sephiroth at an akashic, or void, level, as these are essentially the foundation stones, if you will, of all material reality. This represents the path of mana, the path of enlightenment, or the upward arc. There is a path of manifestation as well, where you learn how to work with these things in a more terrestrial manner, but, as many individuals have said before me, and great masters included in this, if you achieve enlightenment first, magic is easy. If you only work on magic, you’re probably not going to get around to enlightenment. So that’s the whole of the Sixty Skills system.

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    Skill Progression and Integration

    PAA: Two, skill progression and integration. How are the skills distributed across these stages designed to build upon one another? Can you elaborate on the integration process as students advance through the curriculum?

    Sure. Again, the master course gives you the basic skills necessary to do the work.

    Now, as we start to advance our way from the power of the elements, which we quantify by the letters, to the power of the planets, to the power of the zodiac, to the power of the Sephiroth, we work through a process of what’s known as magical equilibrium. You learn how to generate all of these independent forces, let’s say at the planetary level, teach them to neutralize one another so you become more immune to their effects, and then you take those neutralized forces and elevate them up in a process of enlightenment. You do this at each level of reality. Therefore, by the time you get to Kether, or the top end of the Sephiroth, making that jump into non-dual light—or what we sometimes call the Godhead, or some people refer to as God, or complete enlightenment as in some other camps—is relatively easy to do and much more under your control. Most systems use a blunt-force method where they just build energy and then explode into that state of awareness, and while this works, it makes it very difficult to repeat.

    Time Commitment and Expectations

    PAA: What is the anticipated time commitment for each stage, and how does this align with the overall 18-month framework of the master course?

    It really depends upon how quickly you want to do things. Truthfully, what I’ve found over the last few years of teaching publicly is that if a student practices two hours a day, every day, they can easily complete the master course curriculum within a year and a half. A lot of people do it quicker because, quite frankly, they’ve had training and they don’t need the whole program.

    When it regards the letters and the planets and so on and so forth: the letters themselves should take you about six months to a year; the planets should take about six months—two weeks each; the zodiac, for practical purposes, will take a year; and the Sephiroth can probably be done in about six months. That represents the complete upward arc. You can do the math on that, but easily I’d say within 18 months for the first course, 28 months, 30 months—I’d say easily within three to four years you should be able to finish the whole system on the upward progression. The downward, or what I prefer to call the path of manifestation, should take about as long, so in theory, if you wanted to do everything, it would take two hours a day for about seven years, maybe eight.

    Foundation Importance

    PAA: The master course encompasses the entire 18-month curriculum, offering over 30 separate courses. How does this comprehensive approach establish the necessary foundation for advanced practices in the subsequent stages?

    Well, pretty easily. Mind training teaches you how to focus and relax your mind. The energetic training gives you the sensitivity to work with these various energies and establish things like clairvoyance and clairaudience. The body training makes everything work better, and the body training is somewhat key, because without this most practitioners get stuck at the mental or akashic level of performance because they can’t bring the energy down into their body very effectively. This is one of the unique aspects of the Sixty Skills curriculum: it’s one of the few places out there where you can find this openly explained. It also makes the mental and akashic-level work, or void-level work, much more effective. Of course, along the way you learn out-of-body projection and a bunch of other skills, but these allow you to engage with the latter portions of the curriculum effectively.

    PAA: Upon completing the master course, students are introduced to the quabbalah course. How does the master course prepare practitioners for the complexities of cabalistic studies and other advanced topics within the Sixty Skills framework?

    Well, as I said, it gives you all of those basic skills you need to engage things like the power of the elements via the letters, the planets, the zodiac, and, of course, the Sephiroth. What’s interesting about this form of studying, which is grounded in hermetics—specifically the Franz Bardon school of hermetics—is it gives you the ability to distinctly identify which level of reality you’re working at and specific tools for working at each of those levels of reality. Most schools expect you to figure this out, and it is one of the reasons why it takes so long in a lot of other traditions.

    Understanding Akasha and Its Variations

    PAA: Conceptualizing akasha. In various traditions, akasha is considered the first element created, serving as the basis and essence of all things in the material world. How does Sixty Skills define akasha, and what role does it play in your practices?

    Well, akasha is literally the power of the void, that thing out of which everything else came. In practical experience, terrestrial accasha is often perceived as a purple or dark-purple-colored energy that tends to dissolve things, has a penetrating aspect to it, and sometimes can be associated with the sound of shearing metal.

    In the Sixty Skills curriculum we give you very concrete ways of engaging with this, specifically through the creation of equilibrium using the four elements, which in this system are fire, air, water, and earth. By learning to establish the elements clearly and cleanly, and then doing them in a kind of balanced equilibrium manner, this allows you access to your own akasha. It is by far the fastest way to do this and, quite possibly, the safest way as well. Once you can generate your own akasha, this gives you access to non-dual light, or the power of the Godhead. At this point you are essentially an esoteric adult.

    This is the important part about the Sixty Skills system. When you do a lot of energetic practice you tend to attract the attention of various spirit entities, and they can be quite bossy, but there’s a catch: if you have your own akasha—non-dual light, on the other hand—you are more in the driver’s seat because you have the ability to banish or send those entities away that someone who does not have conscious control of this generally lacks. It really changes the nature of the relationship of a lot of these entities.

    PAA: Exploring different types of akasha. Some philosophical traditions classify akasha in different categories, suggesting a more nuanced understanding of the element. Can you elaborate on these classifications and how they influence your teachings?

    Sure. In our system we basically have five types of akasha we work with. These are defined according to letter magic, or Kabbalah. You have the letter E, which is that purple, terrestrial, penetrating akasha. You have the letter Y, which is a pink, kind of floating akasha. You have the letter A, which is an earthy, kind of yellow or gold-colored heavy akasha. You have the letter umlaut O, which is a kind of orange, hot, heavy akasha. Finally, you have the letter U, which is a silver, mercury, black-mercury-colored cosmic akasha. The main difference between the letter E and the letter U is the letter E grounds back to the body, whereas the letter U does not, which makes it a little trickier to work with. We break it down into five different basic categories. If you look at what we do with letter magic as a tuning-fork system, you can see how there are actually many other variations on this, but by learning to work with these five variations of akasha it tends to give most people the refined level of, let’s call it, attachment or discernment that allows them to work with akasha at large.

    PAA: Addressing knowledge limitations. Given the vast and subtle nature of accasha, our understanding might be limited. How do you approach these limitations in your practice, and what strategies do you recommend for practitioners to deepen their comprehension of akasha?

    Well, first of all, we encourage journaling. In fact, if you’re not journaling while doing these practices, you’re probably making a mistake. Additionally, we have an online community that is by private invitation only to course members, where you can meet and communicate with others regarding your experiences. You need to understand the power of the void is vast, tremendously vast, and predates time and form, so there’s really no ultimately knowing accasha; there’s just knowing it better than you did yesterday.

    PAA: Practical applications of akasha. Your teachings emphasize the importance of akasha in achieving magical independence. How do practitioners effectively harness akasha in their meditative, ritual practices? Are there specific methodologies or exercises that facilitate this connection?

    Absolutely. The basis of learning to control or work with akasha on your own is through, again, equilibrium—this balancing of fire, air, water, and earth. You’ll learn how to do it internally to your body; you’ll learn how to do it externally to your body. Once you have active control of this, achieving access to your own non-dual light—or what some would call the fine providence—is relatively easy. More importantly, because you now have the ability to dissolve the subtle bodies of various spirit entities, they tend to become very respectful. Also, in turn—and this is part of the path of manifestation—you gradually gain the ability to pull the other elements out of the akasha directly, instead of only being reliant upon what is available in the ambient atmosphere around you. This greatly reinforces your position within the universe and is a hallmark of an internal-power practitioner.

    PAA: Experiential outcomes. Based on your observations, what transformative effects have practitioners experienced while engaging deeply with akasha? Are there noticeable enhancements in spiritual awareness or capabilities?

    Absolutely. Access to akasha is often coincided in more traditional systems with activation of the kundalini or activation of the siddhis writ large. Most people develop some degree of clairvoyance and clairaudience upon working with akasha, and this, in turn, allows them to see the world as it is and not as we wish it to be, which is the case with most people, because belief really influences your perception of reality in ways that are quite profound. Akasha strips away some of these rose-colored lenses. Additionally, akasha allows you to see both your past and future on a limited level and allows you to deal with those issues directly, whereas most people have to deal with them passively. It is, to be blunt, a transformative experience.

    Integration of Zodiacal and Sephirothic Energies

    PAA: Conceptual framework. In your work you discuss the synthesis of zodiacal influences with sephirothic energies. Could you elaborate on the theoretical underpinnings of this integration and its significance within the Sixty Skills curriculum?

    Sure. On a basic level the letters represent the power and energy of the phenomenal world; the planets, that of the astral or energetic world; the zodiac, that of the mental world; and the Sephiroth, that of the akashic world. By the way, you have akashic, mental, astral, and physical bodies that you work with. These stack one on top of another, and by working with the zodiacal and sephirothic forces you begin to understand the mental influences and the akashic influences that occur to everybody in a very refined and tangible manner.

    Where this is important is it’s unclear if, say, the planets are the source of astral energy at large, but it’s very clear that they generate a lot of astral energy. It’s unclear if the zodiac is the source of mental energy, but it certainly generates a lot of mental energy that can be worked with, and the Sephiroth the same with the various aosic forces. By working with these, it gives you a more complete mastery of your environment around you and makes you a more effective magician.

    PAA: Practical applications. How do practitioners effectively combine the powers of the zodiac with the Sephiroth in their meditative or ritual practices? Are there specific methodologies or exercises that facilitate this fusion?

    Absolutely. Take something like Aries. Aries is part of the zodiac. It’s also associated with Mars and with a specific form of fire energy. In our system you learn how to stack these different forces one on top of another in your meditative and yogic practices. This results in a very powerful ability to generate unified forces with which you can work in your environment around you. So, for example, if you’re dealing with someone who’s ill from a kind of deficiency disease, this combined force of Aries, Mars, and fire energy can counteract that in them. If you want to take it one step further, you can use Geburah at the sephirothic, or akashic, level. That’s how this works. What’s interesting is you can generate very similar or like effects strictly using letter magic, but by learning to stack the forces things become much more potent, as it represents a more clear representation of reality at large.

    Explorations of Pluto and the Outer Planets

    PAA: Esoteric significance of Pluto. Your writings highlight Pluto’s role in refining the physical body and its association with hidden magics and nuclear power. How did your private practice group uncover these attributes, and what methodologies were employed in working with Pluto’s energies?

    Sure. Mainly by accident. I hadn’t really understood how the letters, the planets, the zodiac, and the Sephiroth stack one on top of each other when we began these explorations. My private practice group had finished their build-out of the letters of the elements, or Cabala, and we decided to start working with the planets. As we got further into that we were contacted by various entities through a process known as pathworking that encouraged us to explore Uranus, Neptune, and Pluto, and later on the extra-solar region. It was through this process of pathworking—by going from one planet to another—that every time we finished a planet we’d be given just a little bit of information about the next one. We had expected to stop at Saturn, but when we got to Saturn it was made clear that there was more to go, and that’s how we wound up in Pluto. So it was a combination of doing pathworking to develop the sigils and out-of-body projection into these planetary systems in which we engaged with various spirit entities there and were made aware of the properties of those places.

    PAA: Energetic strengthening through Pluto. You mentioned that after a month of working with Pluto your group experienced a notable increase in energetic strength without altering daily practice. Could you delve into the mechanisms behind this phenomenon and its implications for practitioners?

    Sure. Pluto is involved with a further refinement of the physical body. Depending upon who you ask, it has to do with three planets: Earth, Mars, and, interestingly enough, Saturn in its aspect of rebirth or regeneration. One of the skills that you learn when you work with Pluto is how to vibrate the power of the elements at a cellular level within the body. This is a very potent way of generating energy that doesn’t require you to pull energies from the outside world into you. You actually use the body as a crucible, if you will, or mandala. It’s quite potent and very interesting, and this was the first time I gained real experience of this method.

    PAA: Inner vibratory sensations. The discovery of generating inner-vibratory sensations without vocalization was a significant outcome of your Pluto work. How does this capability impact the practice of cabalistic letter magic, and what are its broader implications within the Sixty Skills framework?

    By being able to vibrate the letters at the cellular level it greatly increases your throughput of energy, and as you work your way through the Sixty Skills curriculum you learn additional methods that enhance your ability to generate these forces on your own without having to use more conventional approaches. In practice you end up stacking all of these, like the vibratory-mantric-type work, along with the inner vibration, establishing better equilibrium, and being able to increase your throughput, all of which, over time, greatly increase your ability not only to pinpoint which energies you’re working with but also your ability to increase the volume of energy, if you will, that is being employed.

    PAA: Challenges and safeguards. Engaging with outer-planetary energies, particularly Pluto, can be overwhelming and may pose risks such as psychological distress. What precautions and remedial measures do you recommend for practitioners to ensure safety during these advanced practices?

    Well, first of all, there’s counterbalancing. With the outer planets you’re going to be counterbalancing with solar energy, which, in turn, will need to be counterbalanced with lunar energy, so this can result in these meditations taking quite a lot of time. Additionally, the outer planets can result in the development of suicidal ideation amongst practitioners, so you have to watch out for this. However, in Bardon’s second book the first solar genius, or angel, in the sun sphere is known as Imnixut. Imnixut can literally draw that out of you and does so very quickly. So there are that and a few other things that are built into the system, but, suffice to say, there are many safeguards and let’s call them remedial techniques designed to address these problems in the greater curriculum.

    Private Group Practice and Methodologies

    PAA: Formation and objectives. Could you provide insight into weekend private practice groups? What were the primary objectives, and how did collective efforts enhance the exploration of advanced esoteric practices?

    Sure. The private practice groups we offer pretty much every weekend, unless I’m on the road, and I’ll work people through the letters and the planets and the zodiac and now the Sephiroth. By working in groups it is said the amount of energy, if you will, being developed squares or cubes, so two people working together have the power of four people working independently; three, that of nine; so on and so on. I don’t know if that’s exactly true, but what everybody will tell you is working in a group greatly enhances the overall effect. This serves as a kind of initiatory experience that your body remembers. This way, even when you’re working on your own with this—and it can be years or decades later when you actually choose to do this, which is why you should do it, quite frankly, now—your body will know, based off that experience, that specific frequency or wavelength of energy that it’s interacting with. This is super valuable, because if you don’t have this and you’re strictly working on your own it can take a really long time to figure out how to do things, and you’ll make mistakes, and I say this from experience. So working in a group enhances and speeds up your development.

    PAA: Collaborative discoveries. In the course of your group’s works, what discoveries emerged that might have been challenging to achieve individually, and how do group dynamics contribute to these insights?

    Well, one: the living-crystal device. When you’re working with the outer planets, and particularly the zodiac, the energies can become very subtle, and if you’re working by yourself it’s really easy to miss out on things. It’s frequent in my private practice group that, you know, I’ll have a bad day, or one of the other members will, but the other people who were there didn’t, so they can fill in the details. If I were working on my own through Bardon’s mandala on the cover of his third book, “Key to the True Quabalah,” I don’t know if I would have finished, because, again, some energies you’re just not going to resonate very well with, and that’s where working with others is really handy.

    PAA: Balanced individual and group work. While much of magical practice is solitary, what advantages do group settings—such as those in your private group—offer? Are there specific skills or experiences that are best cultivated in a communal environment?

    Like we talked about, working in a group environment allows for a higher volume or flow-through of, if you will, energy. This makes it particularly attractive or helpful if you’re working with a more advanced practitioner to positively identify an energy the first time you’re doing it; otherwise, a lot of times you’re sitting there wondering just what happened. Also, because of the profound nature of what goes on with some of these practices, it’s easy to second-guess yourself and say, “Did that really happen, or was this my imagination?” By working with others you have people to bounce this off of, and it’s just really, really, really valuable. Again, the majority of the work will be done on your own, but having others definitely speeds the process and results in additional insight, because, largely speaking, the entities reflect off the individual doing the practice, and we’re all different. The result is we all gain additional insights by talking to others and working with others that we could not gain on our own.

    Curriculum Development and Evolution

    PAA: Incorporating outer-planetary work. Given the profound experiences and insights gained from working with outer planets like Pluto, how have these findings influenced the evolution of the Sixty Skills curriculum? Are there plans to integrate these practices more formally into the training modules?

    Yes. These are living courses. Updates don’t happen very often, but they do happen from time to time. A good example is the continuing evolution of including pranayama, or breath retention, across the five levels of the curriculum. The fact of the matter is the courses work on their own. Now, there will be, like I said, improvements made from time to time as I simply find a better way to do things, and, keep in mind, by the time a course is released I’ve already worked multiple groups of people through the coursework before I choose to record it. This allows for a more nuanced discussion of what’s going on.

    PAA: Addressing contemporary practitioner needs. How does the curriculum adapt to meet the needs of contemporary practitioners, especially those interested in exploring beyond traditional hermetic practices? Are there resources or guidance provided for such advanced explorations?

    Sure. All the tools you need to do it with are there. But here’s the thing: it’s a commonly understood phenomenon in magic, or, if you will, meditative works, that when a work gets more than 70 to 100 years old it’s no longer directly perceivable by the person in the modern era. The Buddhists get around this by having their commentaries, which are invaluable; it keeps those older works alive, if you will. This video presentation of hermetic practice is just such a thing. It’s for the modern era.

    Keep in mind, historically finding teachers and working with people was really hard. You were moving at the speed of your feet or your horse if you were really wealthy. Now we can communicate across the planet almost instantaneously. I like to say that this helps contemporary practitioners more effectively dial into what they’re doing. A good example in the curriculum is the need for body training. If you were alive 100 years ago you didn’t have a whole lot of need for body training because it was a much more physical world than we have now. Also, back then you would have needed to spend more time on general-purpose visualization exercises. Things like television and the internet make modern people really good at visualizing things; in the past this simply wouldn’t have been the case. However, modern people aren’t nearly as physical as people in the past were, so there’s more remedial work on physical training in the coursework.

    Practical Applications and Outcomes

    PAA: Real-world benefits. How do the skills acquired in the master course translate into practical benefits in a practitioner’s daily life? Can you share examples of transformations or capabilities that students have reported upon completing this stage?

    Sure. There’s what we often refer to as the process of ennoblement. This is a fancy way of stating someone loses all their bad habits. In the case of a practitioner, this is done for purely selfish reasons because bad habits make it harder to practice, but the people in your personal life on the receiving end of your improved behavior don’t care; they just know that they treat you better. I’ve seen amazing transformations over a period of years in the behavior of people—overcoming addiction, sexual-behavior problems, financial irresponsibility, you name it—all because they simply wanted to be able to practice without being bothered. That, my friend, being able to change yourself, is the greatest magic of them all.

    On a more practical basis, very quickly, within learning to work with the power of the elements, you can increase your run times, get stronger, speed the rate of healing from injuries—so on and so on and so on. It’s a very practical form of doing things, which is the reason why it’s survived. Magic exists because, if you don’t have the technology to do something, there is one other way by which you can do it.

    PAA: Customization and personal focus. Given the comprehensive nature of the master course, how can students tailor their learning experience to focus on one specific area of interest or address individual weaknesses within the broader curriculum?

    You’ll know when you’re weak at something because it’ll be hard to do. Here’s the difference between a magician and a chi-guy or a dabbler: a magician, just like a pro athlete, works on things not until he can do them but until he or she cannot fail at them, which means you’re going to spend a lot of time working on things you’re not very good at. This practice can be pretty boring, but that’s where the magic happens.

    In terms of tailoring things, it really depends upon what you’re doing. If you’re working in a hands-on healing clinic using energetic healing, you’re going to want to do a lot of standing or movement-based practices that generate very terrestrial energies— a lot of the weightlifting. On the other hand, if, let’s say, you’re an industrial engineer and you want to get one step ahead of your contemporaries in terms of state-of-the-art design, you’re going to be doing a lot of out-of-body exploration of the planets to get your hands on that technology that can be manifested in the here and now. Functionally speaking, it gives you about a 10-year head leap on most people because of the availability of the things you would need to implement the technology.

    Conclusion

    That’s just a basic breakdown of the Sixty Skills curriculum and what goes on. If you have any other questions you can contact Perseus Arcane Academy and they will forward these to me. As per usual, train hard and be well.

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  • What’s the difference between an elemental, planetary spirit, zodiac entity, or akashic being?

    What’s the difference between an elemental, planetary spirit, zodiac entity, or akashic being?

    What’s the difference between an elemental, planetary spirit, zodiac entity, or akashic being? Well, at a basic level, it deals with what part of reality the entity is choosing to manifest at, but we’ll get to that in a second.

    Elementals

    Fundamentally, an elemental is an entity that is created out of one of the fundamental elements. The ones most commonly referred to are fire, air, water, and earth. Now, these entities are generally not very intelligent and tend to perform various functions that deal with the ambient environment, such as a water elemental might be involved with the movement of underground water through underground rivers and springs. The more intelligent beings at the elemental level are sometimes referred to as elemental lords.

    Now, what’s important to keep in mind when dealing with elementals is that they do not have a spirit or soul, so to speak. So while they have a life, when they die, they dissolve and return to the element from which they were formed. Also keep in mind, because they constitute that thing out of which creation is formed, they can actually be quite powerful if not terribly refined, and they are often a good source of information. A highly enlightened being, however, can elevate one of these elementals to the point where they actually develop a spirit and can reincarnate as other creatures do. This is a fairly rare occurrence, but it does occasionally happen.

    Planetary Spirits

    Now, what are the planetary spirits? The planetary spirits are largely intelligences that are associated with the different planets — the Moon, Venus, Mercury, the Sun, Jupiter, Saturn, Mars, so on and so on. These intelligences, if you will, are often a good source of information regarding the various functions associated with the planets. And the functions associated with the planets are fairly well understood. As a result, the kind of information is very much flavored by the planet a spirit is associated with.

    Now, these planetary spirits are also dual in nature, which means they can be positive or they can be negative. As a general rule, however, the positive or negative association of an entity is generally more a reflection of what’s going on with the practitioner who is invoking or evoking that entity. This is the reason why paying careful attention to things like spiritual hygiene and not engaging in negative acts or using narcotics before practice are very important. This is also why you want to wear clean clothes, brush your teeth, maybe put a little oil on your beard, burn some incense, engage in practices with non-dual light before invoking the entity, as it lessens the chance of invoking a negative aspect or reflection of that entity.

    Now, the kinds of information that a planetary entity can provide largely has to do with the practitioner. Entities in general provide information based off of a process of reflection. So the entity will make contact with you, or you will make contact with it. It will see who you are, and then it will provide information in accordance with that. This is the reason why medical doctors tend to get medical information when they contact the spirit world, engineers get engineering information, so on and so on.

    Now that said, the planetary entities are largely astral in nature. So being astral, they live in a timeless place. As such, they can exist for long periods of time. So according to Dr. Stephen Skinner, the entities of the Lemegeton or the 72 spirits of the Goetia, for example — their names have largely not changed since the time of Greek antiquity. They are very old.

    Now, also being astral in nature, the egregoric buildup around them can be quite pronounced. This is, simply put, the buildup around a given entity that comes from people working with it over time. So these entities can also bring a lot of baggage with them, even if they bring a lot of skill.

    Now, just as their name intelligence suggests, these entities have access to a lot of information. In theory, they have information relevant to any given topic from the time of its creation to ultimately when that development ends — so far into the future in most cases. Now, your ability to act upon the information provided by a planetary intelligence is limited by the technology available to the timeline in which you exist.

    So as a practical matter, if the information they’re providing you applies to something that is relevant more than about 10 years in the future, it will really just appear as something that is along the lines of science fiction because you won’t have access to the tools necessary to bring that item into reality. It’ll either be too expensive, or they simply won’t be available. And I’ve talked at length about this before.

    Zodiac or Stellar Entities

    So that’s a little bit on planetary intelligences or spirits. Now we get into the issue of zodiac or stellar entities. These tend to be a little harder to contact, part of which is a practical matter: distance. These zodiacal constellations are a very long way away. They are also generally mental in nature, which means getting that 4K or 8K HD picture of what they look like is a little more difficult.

    Also, because they are all stellar in nature, they tend to have more in common with angels than anything else. Now, being mental level entities, you can in fact generate a negative aspect of these entities if you try really hard. But keeping in mind, as mental level entities, you actually have to work at this. So using your normal rules of esoteric hygiene and running some non-dual light greatly lessens this possibility.

    Additionally, when you’re working with these entities, they’re going to tend to provide you information that is in line with your path of development and not much else. This is a good thing because, honestly, as mental level entities, providing you actionable information that applies to the physical world around you isn’t really what they do.

    Additionally, when working with them, they can provide a tempering aspect to engaging the planets, which is why you’ll have something like, say, Aries at a zodiacal level that’s involved with Mars. In this case, the astrologers kind of get it backwards — Mars doesn’t really rule Aries so much as Aries tempers the behavior of Mars when engaged in an evocation or invocation type aspect.

    Additionally, what you want to keep in mind with these zodiacal entities is they’re relatively easy to work with if you have access to the right technology. If you don’t, well, that’s a different story.

    Akashic Level Beings

    Finally, we get to the issue of akashic level beings. Akashic level beings are a little bit tricky because in theory they exist beyond spatial constraint, as is illustrated by the astral and temporal restraint. So here’s the hard thing about that — in theory, there should be very little out there. In practice, as anyone will tell you, akashic level beings do in fact exist.

    Now, that said, they tend to be a little difficult to work with if they’re engaged with outside a religious pantheon-type expression. So Furo Mio from the Shinto pantheon in Japan is an example of an akashic level being. Now, these entities tend to have a lot of information and a lot of power involving Akasha. However, in general, bringing them into the physical isn’t very easy to do — with one notable exception.

    These are entities born of Saturn, because Saturn has an Akashic-type energy associated with it. Interestingly enough, all of the outer planets such as Uranus, Neptune, and Pluto do as well. Now, akashic level beings can be either positive or negative in alignment because Akasha is that thing out of which the positive and the negative both spring. So they can be a handful.

    For what it’s worth, banishing them can’t be done using Akasha by itself. For the most part, you need to either use the EN letter combination or solar energy to banish one of these entities. As a result, they can be powerful and quite tricky to deal with — even if they don’t deal with things associated with the near-Earth realm, they can, however, be very important towards your personal development.

    Non-Dual Entities

    Now, that covers the first four levels of reality — but wait, there’s more. You also have non-dual entities. These are entities that exist largely at the Nirvanic or Godhead level — what some people call non-dual light. They are typically very hard to see, very hard to contact, and difficult to work with because when you’re truly immersed in non-dual light, bringing something back to this world tends to be rather difficult.

    It’s not impossible, and they tend to have a lot to do with your life’s purpose. Now, there’s one caveat to all of this — when entities are engaged at the non-dual level, they tend to be very clean. That same entity when engaged at, say, the astral level can appear quite different and have a variety of negative attributes.

    Why? Again, this goes back to the issue of egregoric buildup over time around that entity. Some people are known to say “few spirits, many masks.” This is an indication of the fact that a non-dual entity at its heart, where it’s very clean, can manifest a variety of different ways depending upon the sociocultural context in which that entity has manifested in the past.

    So if this sounds confusing and a bit tricky — well, it is. That said, if you’d like to learn more about this, please get in touch via contact@perseusarcaneacademy.com or if you would like to get started for free then check out our free courses here. Lastly if you would like to be able to do some of the things SixtySkills talks about in his videos/post then you can see 30 minute previews of the Master Course curruculum here.

  • The Ages of the Zodiac, Magic, and You – Sixty Skills

    The Ages of the Zodiac, Magic, and You – Sixty Skills

    Introduction

    Today we’re going to talk a little bit about the various ages of the zodiac and how their background energies can directly impact magical practice—and why this is important for you now.

    Ages of the zodiac aren’t something in terms of magical practice that you’re going to hear a lot about because quite frankly there isn’t much of a historical record. You need to keep in mind that the great works of the classical Greek and Roman period, if you look at those from the standpoint of original source documents that we actually have access to, they basically fill a single bookshelf. The period of classical antiquity concerned with paganism largely consisted of the period of the age of Aries. Now under the age of Aries, Aries was ruled by Mars and fire.

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    Transition to the Age of Pisces

    At the time of Christ’s death you basically have the beginning of the age of Pisces, which was ruled by, interestingly, both Jupiter and Neptune and water.

    The Coming Age of Aquarius

    Finally, depending upon who you ask we are either at the end of the age of Pisces or alternatively at the beginning of the age of Aquarius, which is ruled by both Saturn and Uranus and governed by air.

    Implications for Magical Practice

    So this is kind of interesting because these background energies will definitely impact what magical effects a practitioner can engage in and perform. If you go back to the classical pagan period and you read or learn about magical effects that were being engaged in—such as the battle between the Egyptian priest and Moses—it’s easy to see in a world whose background energy is Mars, male sexuality, fire and a nearetheric kind of level of existence (ruled by Gebbor, if you’re into Sephirot studies by the way) how very near physical effects that would be visible to the eye would be easy to pull off because there would simply be much more etheric energy available in the background at a near physical level.

    Now as we go into the age of Aquarius, which is in turn ruled by Chesed, Jupiter, Neptune and of course water, well the things that you would be able to pull off would obviously change. This would probably appear or come across as a much more kind of higher level astral kind of thing, maybe nearer to Tiph in terms of the energies involved and, quite frankly, have less of a purely physical character associated with it—hence the rise of what we call spirit magic or deity fusion where you went less from working with these near physical elemental forces and now you were more concerned with merging your essence with another entity such as a deity or a saint or a spirit of some kind.

    We’re coming to the end of the age of Pisces and again we’re moving into this age of Aquarius. Depending upon who you ask, we may in fact already be there. The ruling planets for this are both Saturn and Uranus and the element is air, so this would imply a more mental kind of level of existence and in terms of magic could quite possibly explain a lot of the—let’s call it—psychic phenomena that have been coming up in popular culture and just in popular experience at large that are more about observing in sensory apparatus type things and less about, say, setting a sheet of paper on fire with the power of your mind.

    Temporal and Spatial Considerations

    This is going to become important because when you consider the role of a egregore—and this is a topic point of conversation on this channel—you also need to remember that a egregore that’s older, their magic would have developed in a time period where quite possibly this zodiac energy that is in the background governing things is different. That’s also the reason why you can learn a magic from an older system and it may not work in our time frame or it may work differently now because of that. To the degree that physics changes as a result of these background energies being different, it’s really hard to say. But I would advise you to keep the following in mind: the trick with having a time machine isn’t just that you need a time machine that works, it’s also that you need a spaceship that works because our galaxy, while it’s spinning in a circle and we’re orbiting the center of that galaxy, is also in fact moving through space. So if you were to travel back, say, 8,000 years into the past, you would also need a spaceship that could take you to that point in space where the galaxy actually existed 8,000 years ago. So it’s not a stretch to imagine that as the galaxy is moved from point A to point B that the background energies governing that could very well have changed, and as a result an age of Aries in one point in that celestial journey might actually be a little bit different than an age of Aries in a different point in that celestial journey.

    Working with Ancient Systems

    I bring all of this up because many people who subscribe to this channel like to work with the magics of different classical systems. Keep in mind depending upon how old that classical system is, the background energy availing 60 skills in person for some real life instruction—all you chiongers, meditators, yoga practitioners and magicians out there—can come join us at magiccamp.click where you can learn all about our summertime in-person seminars.

    Concluding Thoughts

    Otherwise, as per usual, train hard and be well. Back to our regular programming. It may or may not be what you need to actually make it work the way it did historically or it may simply work differently now because of that. As any internal power magician will tell you, yes, as an internal power magician we have the ability to generate any energy we want pretty much upon demand, but the part that gets left out on that is because your body is what’s generating that, there’s a tendency for the amount of energy being available to be, well, let’s just call it rather discreet, which is a polite way of saying you don’t really have that much of it. I challenge anyone—and I’ve said this before—to generate fire element very strongly down by the seaboard in the middle of a raging storm. Yeah, I mean you’re going to get a little bit of something but it’s not going to be that much. So these background energies associated with the different ages we live in are in fact rather important.

    A good question to be asked is if I’m pulling on the power reservoir of a very old egregore, is this allowing me access to energies from essentially a different time period because they were stored at some point? It’s a good question—I don’t really know the answer to that—but that’s something that an enterprising practitioner out there might be able to shed some light on. The whole point of this discussion is just because things worked a certain way at a certain point in time does not necessarily mean they work that way now. We already know for a fact that the value of karma is not static; it actually changes over time—that is an interesting discussion in its own right. But for those of you here today I would encourage you to ponder how magic could simply have changed over the different ages based off of the energies that were available to be worked with, hence this relationship between the zodiac magic and you.

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  • Franz Bardon – Community Questions, by André Consciência

    Franz Bardon – Community Questions, by André Consciência

    I have been asked to do a post on Franz Bardon community questions. After giving it some thought, instead of posting around asking for questions and waiting for the feed to be merciful to show it to others, I decided to take a look at what was going on in the main Franz Bardon’s Facebook groups. The questions in “Initiation” are mostly taken and adapted from “Students of Franz Bardon”, run by James Robson, the man behind Perseus Arcane Academy. The questions in Adepthood are for the most part taken and adapted from “Franz Bardon The Practice of Magical Evocation”, run by the author Nenad Talerman. The questions in “Magus” are mostly taken and adapted from wider Franz Bardon community discussions. I have left my own group, “Franz Bardon – The Spheres” aside, since I have already met most questions posted in there.

    See other posts with Andre Consciencia

    Initiation

    1 – Why do some people consider Franz Bardon’s work incomplete? Where does this perception come from, and what aspects of Bardon’s system are seen as lacking?

    Bardon’s work is incomplete in a bad way only when people do not complete it. It is incomplete only in a good way when people complete it. This means because Bardon’s system is the most complete system I have known, it also takes the skills of masters of many different traditions to complete. It is not easy to achieve. It leaves space for people to resort to theory and criticize what they do not understand, or for practitioners to feel blocked and frustrated because they have no natural talent for magic and, before gaining it, cannot read between its lines. The system is incomplete in a good way when one completes it, for it will open your eyes to many other systems, and leave you able to specialize in whatever you see fit, be it an occult field or otherwise. You will also be able to realize the books by Bardon were but the tip of the iceberg, Bardon’s work below the tip is a whole living universe to which there is no known end.

    2 – I’m struggling to bring the energy and elements together with enough density—the element comes through clearly but appears more like a fiery paste mixed with air. Any suggestions on how to refine or stabilize this?

    You are good as it is. The element is ethereal. It is possible to materialize it fully, to our senses, but it is not an optimal situation, and will have good chances of resulting in damage to one of your three bodies or all three bodies. The state of flow of the elements – when you can manipulate the elemental fluids in a relaxed state – looks like you described.

    Now, you materialize it fully by specializing on your sensory and extra-sensory training, and accumulating loads of elemental and vital fluid, so that your aura is like a sun in your everyday life, and expands beyond the perimeter of your house. A great concentration gives a great expansion, a great compression of this results in a great saturation, so much that it seems like the astral plane falls into the material plane. This is for later, if at all, after you finish all three books.

    3 – For those who’ve passed Level 5 (IIH) with distinction, what are the essential conditions for mastering all aspects of elemental training?

    The conditions are outlined in the book. But often overlooked is a poetic understanding of the elements. That can be achieved by practicing the soul mirror daily. To understand the elements (which we know physically) in the subtle planes you must understand and live and feel metaphorically, like a poet. I have also met many IIH practitioners at level 5 who still don’t know the difference between an intellectual idea and an emotion. Many are brain-dead. You cannot be a magician without the mind of a philosopher, a mathematician, an artist and a dancer. And this time, it is not a metaphor. You must cultivate yourself and awaken to all elements as a living being. The elements are not like a university course in which you pass some exams and that’s it. The elements are something you become. Likewise, the three bodies are of a nervous nature more than of a theoretical nature.

    Our first and continuous contact with all of this as a ramifying organism is through the soul mirror. Make use of it.

    4 – I’m curious: what step are you currently on, and what initially drew you to the path? Have your goals shifted since starting?

    I have finished working through the three books some good years ago, for the first round. But I am always in some step. Right now I’m leaning more towards the Depth Point (IIH), the Sphere of Uranus (PME) and letter combinations (KTQ) longer than 4 used to open up whole astrological realms or for the instant creation of elementaries and automatic evocation. These three steps work together. I am fitting everything in this language, so as to learn to speak it as I speak Portuguese or English, that is, so as to have it being able to reproduce all the things I know, but this time in their place of origin.

    5 – I’m wondering how to practically apply the Vital Energy techniques from Step II or Step III to support recovery alongside regular medicine. Has anyone had success using these methods to treat minor illnesses like a cold? Do you inhale wellness and exhale sickness, or focus Vital Energy into the lungs and throat with an intention of healing? I’m mainly looking for practical ways to use Vital Energy beyond meditation or long-term character work.

    The most important thing in recovering from sickness, is acceptance. Then everything you do with vital energy can contribute to a speedy recovery or eventually make it worse. If you are suffering from inflammation, vital energy must feel relaxed, or you will inflame it further. If you obsess about the sickness and keep throwing it thoughtful energy, the sickness itself will be vitalized instead of your recovery. It is all about the attitude of your mind. Wellness is in the “I Am.” Bardon would tell you to remove time and space from consciousness and affirm “I Am Healthy”, defining the command within the vital energy. But many don’t know how to do this with enough certainty, “I am Healthy” brings “I am not healthy” attached and there comes the wolf dressed in lamb’s skin. I say use “I Am.” I am! That will heal you.

    6 – Does anyone have insights on the positioning of Initiation into Hermetics (IIH) within the context of other key initiatory materials in early 20th-century Germany, especially before or separate from the Fraternitas Saturni? I’m curious about Bardon’s choices in composing IIH, especially in relation to systems by Brandler-Pracht, Lomer, and others like Hans Muller and Quintscher. Have any comparative studies been made regarding what Bardon included or omitted from these other works? Any additional key works worth exploring?

    To my knowledge, there is no comparative study, but it would be interesting to read such a thing.

    While Bardon was influenced by various traditions and occultists I find his work, put together step by step, is distinct enough from contemporaneous systems.

    Karl Brandler-Pracht’s “Lehrbuch zur Entwicklung der okkulten Kräfte” and Georg Lomer’s “Lehrbriefe” offered valuable systems for self-initiation, with mental exercises and character development. However, they were not as deeply into the practical aspects of elemental mastery and the work with the astral fluids as Bardon’s IIH. Bardon was likely influenced by their works and may have chosen to incorporate elements from Lomer’s writings into IIH, due to their practical applicability and alignment with his own experiences and teachings. Let’s say Bardon expands on foundations laid by others, as do we all, but becoming more comprehensive.

    In any case, I vividly recommend “How to Develop Your Occult Powers” by Brandler-Pracht to the practitioner, it will get him to see from another angle (but in similar style) many of the exercises in IIH (especially in the beginning of IIH, and often in greater detail), and will complement it with some new valuable exercises, like “The Magnetic Gaze”, “Telepathy”, “Idealistic Monism & Producing Dreams”, many details in “The Healing Power of Magnetism”, and the whole Part Three lays many interesting seeds for the Bardon’s Adept. That being said, I do not recommend giving extreme importance to the subchapters “Harmony”, “Harmony Through a Natural Diet”, “Harmony through Hygiene”, and in sum, Chapter 1 of Part II has a lot of bad ideas for the modern age and as dangerous for the physical or psychological health today as they must have been at the time. Having IIH available, it’s best to avoid “How to Develop Your Occult Powers” from Chapter I of Part II up to chapter 4 of Part II, being that some oriental techniques are taught with flaws, are bad for the body, and would need a live instructor anyway.

    Seven Hermetic Letters, by Georg Lomer, is his only influential book on Bardon’s work. A good complement if you wish to visit hermetics through a more philosophical and poetic style and a more contemplative approach. It is less practical and somewhat less structured.

    Regarding Hans Albert Müller’s Der hermetische Bund teilt mit, I could not read it, but I am guessing this book was a greater influence on Bardon’s fourth (and interrupted) book, due to the similarity in the contents. What we know is that Muller’s order “Orden zur Weltvollendung” (Order of World Fulfillment), of which Franz Bardon was a member, was quite influenced by Bardon himself.

    Now Quintscher, he is a great mystic and both him and Bardon got most of the seals they use from Silas. As a good mystic as Quintscher may be, he is not a good magician in my opinion (he uses more ceremony and ritual than Bardon, but seems to express all its components from a mystical perspective). Wilhem Quintscher is the lens of Adonism when Bardon is the lens of Hermeticism. Why I find Quintscher extremely useful, and influential in my books as well, is because as an Adept I can make great use of his works, but I could never have become an Adept via Quintscher. In other words, Quintscher is good in that he offers additional materials to work with, but you can only work with them effectively if trained by Bardon or another competent system. The exciting aspect about both put together is that both are working with the exact same hierarchies and so on. So if you are a connoisseur of Bardon, you may expand this universe by studying Quintscher.

    Finally, for additional key works, I would go outside the German or Czech circles. Book Four by Aleister Crowley was influential to Franz Bardon and was translated by him to his students. But don’t forget the founders, like Agrippa, and further back, Paracelsus.

    7 – I’ve been doing vital energy pore breathing (40 reps, morning and night) and initially felt great—but over the past week, I’ve started feeling sick when I breathe it in, with discomfort in my eyes and ears. Has anyone experienced this? Could it be related to the practice, or might it be something else entirely?

    It all depends on which step you are at. If you have attained a deep level of magical equilibrium, both in terms of quantity with the fluids and their equanimous and gradual accumulations, and of quality in the soul mirror, vital accumulation should be relatively safe. Any other case, and you should breathe out what you breathe in.

    This is more or less the common knowledge regarding these things, and it is not wrong per see, or rather it is more right than wrong. However, I wish to push the case beyond these limitations. First, it is never too much to stress the qualitative side of this, i.e. the soul mirror work. Many use it for character alone and forget to analyze all magical operations via this same end. It is similar to an alchemist allowing himself to constantly work with corrupted materials and expect success.

    Magic is a laboratory, everything we put in, every tiny thought that slips in, emotion or sensation, will define the direction of the operation. Observe very well. “Ora et labora”. You wish for everything to be pure when you practice, not unlike the ceremonial magician wearing all his or her addresses and tools (and knowing and incorporating all their qualities) before magical evocation.

    Ignorance is also a bad trait, and I find there is a portion of it when it comes to vitality in hermetics. The common dictionary tells us that vitality is “the state of being strong and active; energy.” Thus we understand vitality as active energy, yang. You breathe it in intensely and extensively and get headaches, naturally, for what you are doing is cultivating elemental imbalance. Your air (ears) and fire (eyes), the active elements, become oversaturated and with no passive energy to balance them and make them healthy. It could happen that then ignorance leads us to think that vitality, since it indicates liveliness and life force, is active, then the passive counterpart is being dormant, dull or dead. That is wrong, and more akin to neutrality than to passivity, once passivity exists with as much vitality as activity.

    Let us now forget the common dictionary, because when it comes to hermetics, vitality is chi, it is the life force between passive and active energy that permeates them both. So there you are, thinking of breathing vitality in, and because you define it as active energy you are breathing a form of the electric fluid. But since you are still in the first steps, you do not really understand in practice what the electric fluid or the magnetic fluid or the electromagnetic fluid is. What you must think, then, is that you are breathing in energy that balances all energies in you. That is the true meaning of life force and vitality, that which makes us healthy: balance, equilibrium, effortlessness in the Daoistic sense.

    8 – Can a practitioner transfer their consciousness into another being—perhaps even across a family bloodline—creating a form of spiritual continuity or “eternal life”? And if so, would this be an evolution of the path or a form of energetic overreach, raising ethical questions around identity, immortality, and spiritual responsibility?

    Starting from the end, simply transferring to another body (you said being but the question is only logical, due to its implications, if we consider you meant body) is not an evolution of the path. It is a neutral act. If you believe we die and reincarnate, that is what we keep doing in any case. But then it must mean you are talking not about transferring one’s consciousness into another body, but one’s identity. Immortality is not touched by this ethical situation, being an eternal principle, and identity itself is not an issue. So the only thing affected is spiritual responsibility.

    If you mean stealing another’s body, that seems to me to be the same as murder, certainly not ethical. The good news is in Bardon’s system it is not possible. When you transfer into another person, the idea is you transfer into the person’s identity as well. Transference of consciousness requires letting go of your identity and gaining greater awareness in return.

    9 – Sorry if this is a basic question, but is there any known connection between Franz Bardon and Carl Jung? I’m reading about Jung’s ideas on individuation and noticing strong parallels—like Bardon’s black/white mirror and Jung’s differentiation, or vital force and libido energy. Any sources or thoughts on this?

    I always recommend a practical study of psychology to students and practitioners of Franz Bardon, and Jung is a great way to start. I am happy to draw some parallels for you.

    The most evident are:

    conjoining Jung’s “Psychological Types” and “Aion” (for shadow/Self interplay) with Bardon’s Initiation Into Hermetics, Step 1–3;

    Conjoining Bardon’s Vital Force or Od with Jung’s concept of the Libido, for which you can work Jung’s “Symbols of Transformation” together with Bardon’s sections on Vital Energy Accumulation (Step 2); in other words, use Bardon’s conscious breath control and mental focus with Jung’s libido redirection through symbol and active imagination.

    Conjoin Jung’s “Four Archetypes” and “Man and His Symbols”, with Bardon’s Step 3 Elemental Equilibrium Work, that is, Bardon’s elemental equilibrium should match Jung’s balanced psyche;

    To the black soul mirror add repressed traits, to magical equilibrium add the integration of self, both authors stress balance and self-awareness before any serious work can begin (whether magical or psychological);

    Try combining Jung’s active imagination with Bardon’s elemental meditations. Treat fire, water, air, earth as forces that are also psychic archetypes.

    To the less obvious now:

    Bardon teaches that we have three bodies: mental, astral, and physical, each corresponding to a plane of reality. Development requires harmonization among them. Jung divides the psyche into conscious, personal unconscious, and collective unconscious. The conscious resides in the mental body, the personal unconscious in the astral body, the collective unconscious in the physical body. Knowledge of this will improve self-perfection and the exercises, making them more holistic;

    Pair IIH with Red Book, in the following manner:

    – When observing thoughts begin active imagination and write down inner dialogues,

    – When creating soul mirrors identify shadow figures;

    – When practicing single-pointed thought let images develop autonomously into symbolic imagination;

    – For each element, identify a corresponding inner archetype. Use active imagination to explore and integrate each.

    Then use Steps 5 to 8 to explore the Red Book’s mythic landscape as a magician, not just a reader.

    Use the final practices of mystical union and godform realization to attain your Encounter with the Self, and your symbolic death and rebirth.

    PME + Man and His Symbols

    Now use the techniques in The Practice of Magical Evocation to meet Jung’s Universal Archetypes. Know that the beings of PME grant access to these Universal Archetypes necessarily, that the circle represents the totality of the self and the wok within it intentional individuation. Know that your magical tools move your unconscious and that an evocation cannot take place without active imagination occurring. Know no temple setup forms a temple without an inner sacred space. Know clairvoyance and clairaudience brings deep symbolic perception and amplification, and vice versa.

    Finally, KTQ with Jung’s Psychological Types:

    Know that when you engage a letter in the akasha you are activating Intuition, when you engage a formula in the mental plane you are activating thinking, performing quabbalah on the astral you are activating feeling, and on the material you are activating sensing. Now, whether you are activating these, for instance, in the corresponding body or corresponding plane, indicates the introverted or extraverted factor, respectively. Therefore, The Key to the True Quabbalah brings forth the simultaneous engagement of all Psychological Types delineated by Jung.

    All such suggestions having been given, add Jung’s methods only after mastering Bardon’s corresponding steps, lest a system gets in the way of the other.

    10 – When pore breathing, is it easy to replace one element with another, or is more needed? I’ve been working with fire and noticing people around me getting agitated—could this be related? Any insights?

    It could be related. But it depends on what you let in with the fire. Is it a divine fire blessed with focus and willpower? If so, people will be focused around you, and feel blessed. If not, people will get agitated and you will too, sooner or later. Now I’m not sure what you mean by replacing one element with another. What you need is the balance of all four.

    Put another way, if you look at it, during your IIH training you start by breathing in wishes into your blood and so forth. You feel these wishes in their fulfilment state, and you breed them in. Then, you substitute the feeling of specific wishes for the feeling of the elements, and you do just the same. Now, it may come to be, and most often is, that when you are breathing fire you begin to absorb as well all free-associations your mind is prone to, such as fire’s agitation, and the allowed connection between agitation and interference with free will and a sovereign state of mind (which leads to people around you feeling agitated). That is why, in all kinds of magic, a good filter is crucial. That is why in IIH it is important to observe one’s thoughts, and even more important is one-pointed concentration, so those free associations do not dissipate power. That is why journaling everything is essential, as well, so we know which things are interfering.

    You want to be working with the good fire, with the strong and strengthening fire, with a blessed and blessing fire, with a lucky and luck-giving fire, with a focused, stabilised fire. Don’t throw yourself randomly at the fluids. Nature is merciful and nature is cruel, and you, the magician, are amplifying its powers. If a magician is not wise, he becomes broken before becoming a magician. That is how Providence makes sure magicians are wise.

    Finally, giving a bit more consideration to your question on how an element can be turned into another, you can do it

    via the akasha: let’s say you want to turn water into fire. You bring your cool emotion into the akasha and have it come back as fiery will. Some orders use the drawing of the pentagrams for such feats. Alchemists use circulatio.

    via simple self-control, which you are supposed to have gained in Step 1. Thus, you turn fear (water imbalance) into courage (fire balance).

    via the elemental fluids. If you have excess fire, wet it out by accumulating water.

    11 – What’s the most effective advice you have for restoring elemental balance and equilibrium in the body after it’s been disrupted?

    The usual way to set and keep equilibrium is fourfold. For once, you need to take care of the psychological aspect, as it influences the body. This means keeping your soul mirror balanced (and remember the soul mirror should cover everything, including physical health). Then, you take care of your astral body by making sure your astral senses are equally evolved in their active and passive aspects. The active aspect is tested via active imagination of sounds, tastes, images, and so on, created by you and felt in the outside. The passive is defined by the practice of the so-called extra-sensory abilities, and ensuring your clairvoyance, clairaudience and so on are equally in shape. Finally, you work the etheric body by accumulating the elements and the electric and magnetic fluids in equal amount either by layers in your aura and distributed through the whole body, or by compressing them in the corresponding parts of the body. Lastly, you apply a diet that balances the elements in equal parts but still respects nutritionist rules, and apply exercise that covers any weak points in the body, and work with your doctor to treat any illnesses that might be disrupting your organism.

    Finally and what I think is never said enough, is that in any disruption, in whatever body we are referring to (be it physical, astral or mental), it is necessary to understand what equilibrium means in this stage, achieving it, and progressing only then, when possible. When I was practicing in The Order of Michael’s Grail my Initiator told me each grade has a different kind of magical equilibrium, it is often like that as well in the different stages of our life and of our health.

    12 – Is it possible for a student with aphantasia to successfully develop clairvoyance?

    Yes. First, I believe many practitioners suffering from aphantasia have a wrong notion about what visualization means, and define it only via images. Seeing an image is never a magical act unless the image is completed by all other senses, intellectual faculties, and by a deep feeling. At the end of the day, you don’t need to be able to see anything to practice magic, it is as much a tool as the wand is. I have trained with a practitioner who is blind from birth, and who is very good at visualization.

    With extra-sensory abilities it goes more or less the same way. With clairvoyance the medium is visual, but the visuals come with all other extrasensory abilities if it is to be effective. With clairfeeling or clairsentience the medium is feeling, but feeling will reveal visuals, sounds and so on.

    That being said, if you learn visualization in the true sense of the word, which is the presence of what we imagine, in all possible senses, if the visual aspect isn’t your strong it will likely erupt naturally, instigated by all other senses, and that when it finally becomes unnecessary and is released from burden. When I am training people in Shamanism I blindfold them and get them exploring the woods. While it is true the other senses become more alive, what happens is the students eventually learn to see with their eyes folded. They see the trees by their presence, their visual aspect is replaced by a sense of light and shadow, and eventually they see better than with their eyes unveiled.

    The other day I, as a puppeteer, was in a conversation on puppets. A person in the audience, after some drinks, asked if it was possible to do an invisible puppet. The host of the debate answered that all puppets are invisible, perceived via the space around them and the empty space in the scenario that is being occupied by the puppet. It was this effect that gave life to a lifeless object. This is an allegory.

    Finally, people often say they cannot form images in their mind, but then I ask them about their favorite toy during childhood, how it looked, and the details are quite alive still. Confronted with that, sometimes it is still the case the student answers he or she cannot see the image that has been formed, but there is a knowledge of this image, and a deep feeling of it. Work with that, and work often. You can teach colors to the blind (to be fair, the physically blind don’t need anyone to teach them), and it is more or less easy.

    As a final note, something to meditate upon: Clairvoyance isn’t learning to see as we usually do. Clairvoyance is learning to see through the medium of divine light.

    Exploring the Profound Meaning in Andre Consciencia’s Occult Works

    Adepthood

    1 – Last night during my breathing exercises, I relaxed deeply and got close to leaving my body—but every time I reached the edge, I’d snap back in. Is there a common reason for this kind of blockage or difficulty with astral projection?

    Simply put, it’s called fear of letting go. Also do not focus on the edge of your body since that means staying within its confines. Your body leaves because your body is now the mental body: for the time being, you have no physical body at all.

    2 – Can anyone share how Bardon’s Kabbalah is used within his magical system? Specifically, are elemental spirits involved in Kabbalistic work like pathworking or the Tree of Life? How are spirits and magical words used in practice?

    Bardon’s quabbalah is not directly or at least apparently related to the spheres or the tree of life. It’s a manner of magical intonation. Even in regular hermetic kabbalah, the elementals usually only have a place on Malkhut. I have found elemental realms and elementals in all spheres via Bardon’s cosmic letters practiced within the spheres of their corresponding tones, and you can study this at my A Guide to Sphere Quabbalah, but this is an advanced and unusual topic.

    You use a spirit to know universal consciousness within a specific cosmic personality. You use the words to know a universal function and awareness within and without. As for the first part of the question, Bardon’s Kabbalah is used within his magical system instead of beings as a grammar of invocation and evocation of divine qualities and quantities. The large number of letter combinations can have any possible outcome. If not for you requiring previous training to activate this language, it would reproduce all the training that got you here but effortlessly, this means it takes the place of meditative disciplines and magical ritual, like a top of the pyramid that elevates the whole pyramid to its peak.

    3 – Why did Bardon advise against making contracts with spirits—even positive ones? That seems a bit strange.

    A contract is usually a metaphor for dependency. You have your spirit and willpower, the being has its own. If your comfort starts depending on the spirit and willpower of another being, your structure begins to split from your centre, and you begin to decompose as an entity.

    4 – Where are the actual Laws of Analogy for each Sphere written? If we access a Sphere like the Sun via sigil and imagination, are we truly receiving universal laws—or just personal, symbolic impressions shaped by our subconscious?

    In The Practice of Magical Evocation, where else? There, each sphere is described as having a function and a nature. You need these instructions to guide you to the right place, but you also need symbolic impressions shaped by your subconscious: you need it to read this article, too. And you know what? It is personal to me, and it is personal to you. It can still convey universal principles. Alas, that is what the personal is for.

    5 – Since Bardon’s system (PME) is about dominating spirits, not making pacts, what does it mean if one successfully controls a spirit like Emtub (pg. 303), who governs karma and fate? Wouldn’t that level of access override personal free will or even place someone just a step below divinity, like Metatron?

    Just a step below divinity, like Metatron? One hopes so, right? Although there would likely be difficulties fitting into human society. But yes, the answer is yes. Control Emtub (power with) in the full sense and you are something like Metatron. Emtub doesn’t care about personal free will. He needs not to override it. The river runs because it is in its nature. And you do (run) too. So does your similar.

    6 – Hello everyone, I’d like to hear your thoughts on the moon’s effect on magical work. Personally, I find my magic works excellently when the moon is waxing, from child to full, but struggles when it’s waning towards the new moon. Also, my practice seems to be most effective in rainy weather. Does anyone else experience similar patterns?

    Rainy is good because it enhances magnetism, and thus the manifestation of phenomena. Waxing is good for building, and waning for dissipating. Magic is not about what is good or bad, face it like that and you may find yourself in the place of the pawn. Magic is about what is good or good.

    7 – I have a question about the relationship between Venus and Islam. Friday, which is the holy day for Muslims, coincides with Venus’ day. Additionally, rose scents and rose water, which are associated with Venus, are commonly used in our culture. I also notice that some of Allah’s names, such as “Ar-Rahman” (The Most Merciful) and “Al-Jalil” (The Majestic), seem to have a connection to Venus. Does anyone have more insight into the connection between Venus, its entities, and Islam, especially regarding the beautiful names of Allah?

    Muslisms have removed any planetary references to the days of the week. That being said, the sixth day is the day Adam entered paradise through God and left paradise via temptation. So here you have something of the nature of Venus, a paradise that, via its strong pull, can enlighten or cause one to fall from it. Mercy is more commonly attributed to Jupiter, and so is Majesty.

    For Muslim names related to Venus perform Tafakkur and then Dhikr with Al Jamil (The Most Beautiful), Al-Wadud (The Most Loving) and An-Nur (The Light), you will have then a way to invoke Allah, in his Venusian aspect, to the material plane, the astral plane, and the mental plane correspondingly.

    8 – IIH suggests it’s possible to light a candle through sheer will using Bardon’s system. Do you believe this is true or have you witnessed it?

    When first training through IIH, I tried often, to be fair, but the inflammable fluid condenser didn’t work that way, and the candle didn’t light up. I was left with a compact tiny ball of light or spark in the place of the wick’s tip, and when I removed the candle, the light and heat would remain in the same place. I have also never seen someone else do it. I can, however, control the flame of a candle that has been lit, move it in any direction, make it flicker or stabilize, make it grow or diminish. And once working with Bael, in my early days as a magician, the spirit made my candle (already lit) explode like a bomb, and set the roof on fire. So, I know for sure it is possible to control the flame of a candle in intense ways, but I have never seen an incorporeal being light one, like in the movies.

    During a Christmas lunch, my now late grandmother (then alive) gave a sermon, sang in tongues for half an hour while manifesting lights, perfumes and breezes. By the time she finished, the curry had gone completely cold. She raised her hands and, after seconds, the pot started to smoke. So if we can control air and heat in this way, I’d say it’s likely possible to light a candle. Is it possible to do it as Bardon teaches? I don’t know. All I know is I can’t do it, at least yet.

    9 – Is it possible for someone to cause plants to grow or wither through focused concentration?

    Yes. That is easy. I teach some methods in The Way of Abrahadabra (sold out at the moment of this article, but with a second edition on the way) and in the upcoming Beyond the Veil of Illusion (Falcon Books Publishing). I vividly recommend working with the vegetable kingdom, we learn a lot.

    10 – What is the esoteric meaning of “URGAYA” in Bardon’s work?

    This is the method by which I practice the name of this being (mentioned in Frabrato) as a formula:

    The first stage is practiced throughout the planes

    1 – U, gift “the original source of everything that exists in all its forms will be revealed to him so that he will fully comprehend it and have it close at hand in his consciousness”, akasha

    2 (1+1) – R, responsibility (how the source relates to the source) “to accept missions to serve Divine Providence with deep humility, immense gratitude and highest devotion without losing the feeling of absolute freedom of will”; mind

    3 (1+2) – G, the manner of carrying that responsibility (how the source relates to responsibility) “divine peace in the spirit”, mental plane

    4 (1+2+3) – A, the manner of accomplishing that responsibility (how the divine peace of the source is communicated) “the language of symbols and its command and power”, astral body + astral plane

    5 (1+2+3+4) – Y the gift given to the carriers of the first gift “comprehend and apply the absolute influence of the akasa principle on the material world with regard to all forms and bodies in the mineral, vegetable and animal kingdoms”, material

    6 (1+2+3+4+5) – The final A (the result of 4, embodiment of the language) seals the formula so it remains pure in “all ideas and in all forms of existence”, akasha loaded into a light-blue flower

    the 5 results in 10, in mastery over all spheres (mastery over state)

    the 6 results in 15, nondualism (mastery over being)

    This defines three stages of maturity and adepthood within the Brotherhood of Light, since Initiation ends in the 4, the first A. Mastery over state (represented in the Y) has 360 adepts comprehending and applying the absolute influence of the akasa principle on the material world; mastery over becoming has 72 adepts (represented in the first A), and mastery over being has 12 adepts (final A).

    The U shows the conscience of the Brotherhood of Light

    The R shows the legality of the Brotherhood

    The G shows the character of the Brotherhood

    The first A shows the vitality of the Brotherhood

    The Y shows the Brotherhood’s fertility

    The second A reveals the mind of the Brotherhood

    The second stage is performed by rising on the spheres all the way to the Sun and from there the U, from Venus performing the R, from Mercury performing the G, from the Moon performing the first A, from the Earth Belt Zone performing the Y, from the Earthzone performing the second A as previously taught. That is, from each higher sphere we influence our aspects from the lower sphere with the corresponding letter.

    The third stage is in the following manner:

    The sequence is changed. The U is performed in Neptune, continues to the A performed in Pluto, G in the Sun, A in the Moon Zone, the Y in the Earthzone belt, and all is put to action via the material plane through the R volted in the light oscillation of Mars. This way, the akasha breeds forth the highest ideas creating magical equilibrium. Magical equilibrium showers its divine blessings, resulting in the all-penetrating light that irradiates the physical world with consciousness and uplifts it.

    The formula is made independent, self-preserved and set to motion with the volt of the letter R and the help of a red flower.

    Now in “Frabrato the Magician”, Urgaya is a being that appears as the head of the Brotherhood of Light, ruling, we repeat, over three organs, one of 12 (The trinity of God represented in the twelve beings of Jupiter and the four elements of the tetragrammaton), one of 72 (360 gets 5 equal parts when divided by 72, the pentagrammaton expressed in the 72 names of God and the 72 beings of Mercury), and one of 360 (the whole circle, represented by the 360 days of a year and the 360 beings of the Zone Girdling the Earth).

    Let’s see here that in the factors of 360 from 1 to 12 we count 10 factors, and from the next factor, 15, to 72, again 10. From there to 360, 4 factors. If 4 is 10 in the Tetragrammaton by the sum of its parts, as stated by Bardon (KTQ), then we have God expressed passively and actively in both tens.

    The 12 signs (the electromagnetism of God) are the arenas of cosmic experience, the 72 names (the electromagnetism of Creation) are the forces acting within those, the 360° circle (God+Creation=The Son God, the individualization and descent of God in all 3 planes) is the field of total potential.

    In magical language, we could say the 12 beings of Jupiter are the nouns of the divine (mastery over being), the 72 beings of Mercury are its verbs (mastery over becoming), and the 360° beings of the Earth Belt keep the grammar or syntax (the structure that binds them all – mastery over state).

    Urgaya is single (1) yet I haven’t found Urgaya to be the head of Neptune (or Pluto). However, he does oversee cosmic equilibrium, defined by Neptune. As a being he is to be found, maybe, at least as an emanation from Neptune. But Urgaya is to me indeed, as a formula, a resume of the Brotherhood of Light in its completeness, instead of in its origin.

    Finally, and back to the being’s Sanskrit etymology and consequent ontology away from quabbalah, I see Ur as Crowley’s “it” in Had and Nu, “to go”, activation, infusion, the ankh in the sandal of the gods. Gaya is the name of an Asura who follows Narayana. Narayana is the Source of all things, the Eternal, the Unchangeable, and Supreme Personality of Godhead that stands as an emanation rather than an incarnation of Vishnu (Divine Providence).

    Now this Asura was given by this Narayana the purity to liberate anyone who touched him (similarly to Jesus absolving sins and healing by touch). But again, we may find a parallelism to the three orders (as to Jesus) when Gaya is sacrificed and divided into three for the foundation of the three temples: Brahma (creation, 12) Vishnu (preservation, 360) and Shiva (destruction, 72).

    Magus

    1 – Lovecraft’s “color out of space” seems similar to Bardon’s “transcendental” colors, which I’ve experienced not just visually but also through the skin of my mental body. Given this, I wonder if in Kabbalah, working with such a color would require a new modality or channel when using the Creative Word?

    All quabbalistic colors should be experienced not only visually but in the mental, astral and physical skin. The divine light of the colors is presence, and this presence is so full that it touches. But yes, colors of the kind you just described require not only new channels and modalities, as new letters altogether. For once, the elements are not as we know them in the solar system. The senses change. And so do concepts (often) and the notion of planes.

    This makes it so the elemental concentration changes nature (but we must still add one familiar element to make it work in our system of existence), the threefold concentration must be kept but more is added to it, and the four planes must be kept as a way of translation, but even the akasha remaining the akasha, a new angle of mind, astral and material plane must converge into our own (more often than not).

    Now discovering one of these colors is sometimes like finding out a new dimension that will make all three dimensions in which the biological body perceives but a shadow. We can already taste this when we truly achieve the depth point of things and they seem to turn inside out. We are not looking from outside anymore, and what we perceive is not easily translated by our brain in objective terms, since the organ has not developed, for lack of practice, the rational language to elaborate it.

    That is why, in The Way of Abrahadabra I do not teach the reader to create a mental body similar to our biological body, but attempt to leave the practitioner at home seeing in a 360º angle, to prepare the brain to translate more in-depth encounters during mental wandering, in which being is perceived occupying and animating space as a whole from a higher dimension. We are speaking here of four dimensions, but some of these lights imply hauntingly more dimensions.

    I have touched up to eleven dimensions, and have been informed that there are about 30 available to us as cosmic travelers.

    Let me give you an example that is close or influential enough to be described by biological perception: Sirius.

    The color of Sirius is fairly easy to understand and not throughout alien, it is yellowish blue, and it is thus a kind of white but different from the usual white. You can learn about this color by getting a blue and a yellow square (digital light is preferred) next to each other and unfocusing your eyes until both squares meet and merge, or looking close enough to blur them into one color.

    This light holds the totality of things and is radiated as the principle of the mind and absorbs via the electric fluid. The thing with this particular light is that when you push it towards the astral plane it turns white-blue, manifests as complete surrender, radiates as the digestive system of the material plane and absorbs via the principle of polarity. What is more, if you push it further down, it becomes rainbow color.

    Now this rainbow color is harder to describe. This light can be produced by transmission, which is the movement of electromagnetism through a body. This means that the body, the material or the shape should neither absorb the light nor block it. It is the essential method of the Tao and requires complete transparency as one completely flows with their environment.

    Sirius’ electromagnetic waves are the direct manifestation of the Akasha in the manifest world, and can be divided into seven forms of radiation, from the shorter and most saturated wave to the larger and most dissipate. These are as if the seven colors but in non-human terms and as a raw expression of the cosmos: the Gamma Ray is as the willpower of the cosmos, the X Ray is as if the thought-vibration of the cosmos, the ultraviolet is the beautifying harmony, the transcendental principle of the cosmos.

    Visible light refers to cosmic experience. Infrared radiation leads back to devotion, where the magician projects back the witnessed and experienced transcendence into the invisible realm. Microwaves travel a direct path from the source to the receiver, and are of the shape of cosmic love. Radio waves, the offspring of lightening, are of cosmic power.

    To humanity, they come from the realization that an electric and a magnetic field coupled together could travel through space, conquering matter and destroying silence to give rise to communication and a cosmopolite civilization.

    All electromagnetic waves, in the vaccuum, travel at the speed of light, which is also to say that the volt, when placed in the akasha, can surpass distance and time to become again from cause to effect at any intented space and time. The micro and macrocosmic correspondences between the colors and the electromagnetic waves are of inverse polarity. The longest color wavelenght finds its analogy at the shortest electromagnetic wave, and the largest electromagnetic wave at the shortest color wavelenght.

    Sounds complicated, but it can be made to work. Now regarding sound it is a rapid, high-frequency oscillation that is steady and majestic, icy and celestial. As it descends through the planes it starts to gain more modulation and getting a stronger feeling of vastness and depth. It sounds in base tone as the combination of D and F# with microtonal intervals slightly off from perfect, subtly phasing and flanging with a texture of crystalline bell upper tones.

    Under it, there is a soft rumble that reminds one of an infinite gravity hidden in some occult mass. The letter is as strange as Sheeru, with the SH being soft and breathy, the EE sustained, long, glowing and full-bodied, the R being rolled, and the U as a rounded “oo”, evoking cosmic modulation. Let us not confuse this with a KTQ letter combination, this Sheeru is a single letter but it can indeed be divided to invoke the four-dimensional essence of Sirius’s mystical tone.

    Sirius is, in esoteric terms, that occult Sun behind the Sun. While the Sun gives individuality to oneness by giving it qualities, Sirius sucks individuality back into nothingness, so that an undifferentiated light may appear.

    So, to practice Sheeru mystically, that is, qualitatively, as described, is more or less fine, but to practice it quantitatively, since it contains all four elements but in quite a different mode, it can be the cause of alienation in our worldly system and also in some of the spheres. The electric fluid is here considered as hot plasma, and the magnetic as cold plasma.

    The cold plasma is composed by Iron (a form of earth that is solid, heavy and introverted to the extreme) and ash (substituting water, being cold, volatile and dead). The air element is something between gas and liquid, and the fire element is an element of absorption, like radiation occurring through gravitational means. The Sh expresses the gas-liquid, the EE expresses Iron, the R expresses Fire, and the U expresses Ash.

    Now the akasha here is not to be understood as the space in which all being and state exists, but the being in which all state and space exists; it should feel like we have become infinite through death, emanating directly from the absolute as the realm of plenitude and as YHVH.

    All objects of perception (mental plane) appear as absolute, as unity, as the personified prima materia or light as a living whole, as the root of the ether.

    The astral plane of Sirius perceives all objects as the holy of holies in its multiple faces.

    The material plane is replaced by a healing silence within the minus pole.

    In other words, the mind in Sirius observes in all things the observer, the soul in Sirius speaks the speaker, and what is done on the material plane is the doer.

    The way the four-fold method when and if we make Sheeru as SH EE R U is distributed throughout the planes and the elements in terms of sensation, will be here left for the mature sphere quabbalist to find out.

    Now the regions of the body attributed to this letter are the throat, forehead and hair, and to the threefold intonation we must add a sense of smell, a mix of almond flowers and ambergris perfume (still pertaining to sensation), and necessarily add the magnetic fluid of a devotional and consecrative quality (blue), and the electric fluid of willpower and prophecy (purple), which makes it a fivefold intonation.

    The kind of magical trance to begin uttering this formula is also unusual, as we are to imagine the whole universe as a sucking black hole and transfer to its depth-point to become as the speed of light, that is, as a spider able to work her spiral web of space and time, building it and rebuilding it at any place she see fits to rebuild reality, her silk the seminal fluid of the Sun.

    So again, we get comfortable with this letter qualitatively before we seek to insist quantitatively. We balance it by inserting elements of our system of magic as we know it in the solar circle. After doing all preparations we formulate the light of this letter in Neptune, in all its variants. We then train this by adding the sound in Uranus, and the sensation in Saturn. Then we add the electric component in Jupiter and from there we also manifest the mangentic component in Mars.

    Finally, we start mounting the quantitative components by adding the fire element of Sirius in the Sun and from there manifest adding the other elements, sequentially, down to the Moon where we may practice the full letter qualitatively as well as quantitatively with relative safety while moving all spheres up to Neptune with us.

    One way to operate in the Earthzone directly is to dilute the letter in formulas within the solar circle (or system). The following formula is optimal (being cumulative):

    Akasha: Sheeru

    Mental: SheeruB (gives Sheeru familiar electromagnetic qualities)

    Astral: SheeruMAe (slows down the oscillation of Sheeru to a familiar rhythm)

    Material: SheeruSAC (articulates Sheeru through a familiar system, functioning as a translator)

    Without practicing it in one of the ways outlined, it will be hard for the biological brain to retain the characteristics and effects of this letter, and although with habituation this may change, so may our nature be modified in ways that hardly fit the current human way of life.

    2 – Bardon briefly mentions in KTQ that mudras can be used with Kabbalistic formulas. I’m currently exploring runic hand gestures and body postures, considering how they might be integrated into the KTQ method. If anyone has already explored this, please share your thoughts!

    The Runes themselves can be practised via Bardon’s quabbalistic methods, you only have to change the letters received by Bardon to the letters received by Odin via whatever sage was transmitting it. I am presently writing a book on this subject, as I remember my old initiator changing KTQ entirely to the runic system, and I plan to master my own methods. I can only be sure of my success in this when I can teach it almost by improvisation.

    As I have been focusing on teaching my students directly, my time for writing has been scarcer, and it might or might not take a while. Luckily enough, meanwhile, two of my past books are still to be released by their publishers. One holds a system of Venusian liturgy to influence dreams and waking life alike, and the other a compilation of lessons learnt from the sphere of the Sun, the sphere of Mars and the sphere of Jupiter.

    Be that as it may, I have worked with a seer who uses flowers in Bardon’s Quabbalah, and a magician who has adapted the Cosmic Letters to the Ogham alphabet of trees, working with trees directly and different Ogham postures. I have tried the methods of both to great satisfaction. Both the flowers and the trees, in different ways, are able to harmonize any imbalance in our practice, and expand the effects of the letters, as well as to absorb any backfire and often prosper from it.

    Back to the central point of the question, my suggestion is for you to use the runes as they were meant to be used, as a magical language not unlike KTQ at all, and add then the hand gestures and postures. This will bring great cohesion. However, to Bardon’s quabbalistic formulas you can add all kinds of ritual components, the runic ones included.

    You may have seen me use many yogic asanas (still or moving) together with cosmic letters in A Guide to Sphere Quabbalah, and I will likewise give an example regarding a runic body posture.

    To simplify it, I will pick a rune that matches one of Bardon’s cosmic letters in most essential aspects. Say you are working the cosmic letter M, you may wish to extend it with the Stodhur of laguz (the phonetic l in the futhark system). This means water as vital fluid and growth, and the visual aspect of the rune shows a wave. In laguz is the vitality and nutrition of all universes (the primordial waters of Niflheimr), and this rune seems to be as much the root of water as the cosmic letter M.

    It has some additional components also present in the M as the fluid principle, for in these waters are all the cosmic and human actions nurturing the future of all life-forms.

    To add to it, this rune encapsulates within the form of the leek (green onion or French garlic). This laukaz (or itrlaukr) is a phallic symbol of organic growth and of physical and spiritual fertility, and rules over Norse herbal magic (the lyf or lac-nunga tradition). Now the primordial waters become the waters inside the severed phallus of Osiris, hermetically speaking.

    These are the fertilized waters of Neptune, the waters of Niflheimr (minus) that have caught the fires of Muspellsheimr (plus) for the power of aptrburdhr (rebirth, more or less similar to the Christian baptism by water and fire).

    By standing, extending your arms to the front and down with palms facing down you are practicing the Stodhur (posture) of laguz on top of the cosmic letter M, and you get the power to successfully undergo your initiations, you maximize your vitality and vital power, you augment your power of transmutation in the soul mirror work, your magnetic reservoir grows and your extrasensory abilities grow with it.

    Now, in runic magic there are usually eight colors that can be applied to any of the runes, plus the inherent color of the rune. One can practice in the seven realms (each divided by three planes: past, present and future) and numbers are also important, just as in Quabbalah, but I will leave all that aside in this context.

    To further enrich this example it should be sufficient to say this rune would in Asgard (akashic analogy) represent the principle of emotion as a blessing that empowers all that is good, in Alfheim (analogy with the mental plane) the fluid law, in Svartalfheim (analogy with the astral plane) life, and in Midgard (analogy with the material plane) growth. The color of the rune is green.

    You may see the intrinsic aspects of the cosmic letter M in this rune, and because this rune works wonders when combined with the willow or the leek, you may see now M will also fare well with these, and that both can find an iconographic medium in the Star arcanum of the Tarot.

    And this is the pearl I wished to give you. By combining the letter M and Laguz, you will easily be able to work the magical animation of pictures in this card, and to bring it to true life. That is, by the combined powers of M and Laguz you can have the daughter of this marriage incarnate as a living being or personification in the physical and pictographical card of the star.

    3 – In KTQ, there are formulas that can perform incredible feats, like controlling the seas or parting the Red Sea. Does anyone have a favorite formula from the book that left them amazed?

    Anything can be said to do anything, the problem is doing it. Controlling the seas is not extremely hard, but parting the Red Sea is most likely symbolic. It is not so much about the Red Sea being parted, but about it being crossed instead of navigated. It means faith and clarity opening the way through chaos and includes a baptismal tone to it. The red waters are the unconscious, Moses is conscious wisdom, and the Hebrews being guided are the automatic self.

    In this three-letter formula, L-A-W, said to open the Red Sea, L stands for magical equilibrium, A stands for the symbolic language, and W for mysticism. So what happens is it was the tradition of wisdom of the Hebrews that managed to individuate itself in the face of Ancient Egyptian culture.

    This can be said of all waters: a magical equilibrium that is passed through a symbolic tradition engaged via mysticism is able to save the soul, to separate its waters and bring it from chaos to the nutritive harmony and beauty of the fluid principle. One can actually see, as with other specified Bardon formulas, the play between the formula and the English word it makes seen (law).

    This is, mythologically speaking, not so much an attack on Ancient Egyptian dogmas as it is an allegorical illustration of the way out of bondage and towards liberation.

    In fact, so do the Ancient Egyptians have similar known formulas via their liturgy, like the spell 99 of The Book of the Dead:

    “O bringers of the ferry over this difficult sandbank
    Bring me the ferry, tie for me the cords, in peace, in peace
    Come, come, hasten, hasten, I have come to see my father Osiris
    O lord of the red cloth, who has power over joy
    O lord of the tempest, man of the sailing
    O he who sails over this sandbank of Aapep
    O binder of heads, fastener of necks, in the emergence from the knives
    O keeper of the secret ferry, guard of Aapep
    Bring me the ferry, tie for me the cords, that I may emerge from it,
    this difficult land in which the overturned fall on their faces
    and are unable to raise themselves
    Hensua tongue of Ra, Indebu guide of the Two Lands,
    Mengeb, with their steering-oars,
    That is the power that opens the sun-disk, master of the red
    Bring me, do not make me boatless.
    Come spirit, my brother, proceed to the place you know there”

    In fact, one of the formulas I myself pretty much enjoy is a similar one, G-A-W, and I have first discovered it in the same Papyrus of Ani:

    “As if I had slept a thousand years underwater, I wake up in a new season. I am the blue lotus that rises. I am the cup of dreams and memory that opens – I, the flower with a thousand petals At dawn, the sun rises naked like a newborn; I open and am penetrated by the light, the slow awakening in the fire while the petals bloom. open one by one, while the fingers that held the secret unfold I abandon the past and release the scent of flowers.

    “I open and the light descends, filling me and passing through, each blue petal reflecting perfectly in the clear water. I am this lotus filled with light reflected in the world. I float contented within myself, flower of a thousand petals, a life lived a thousand years without haste, a universe sparkling with a thousand stars, a god living among a thousand people.

    “If you stood one summer morning on the shore under the brilliant sky, you would see the thousand petals and say that together they form the lotus. But if you lived in its heart, invisible from the outside, you would see perhaps how the ecstasy of its fragrant core gives birth to its thousand petals What is beautiful is always what is itself in its essence, a certainty of being. I marvel at myself and others. things of the earth.”

    But my favorite formula is likely MAAT, read and formulated in the following fashion:

    M (the principle of fluidness) A (truth) A (poetic inspiration) T (interconnectedness).

    This formula gave us all worthy writers, artists, philosophers, inspirational leaders and the like. You will be able to see the play between this formula and the name of the Ancient Egyptian Goddess who rules over Order and Balance, who rules over Law.

    4 – Has anyone tried applying the Godhead method (Step 10 in IIH) to Kabbalistic formulas? Any insights or ideas on how to integrate them effectively?

    Before I go on about how to integrate the Godhead method into the formulas, let me speak of how to integrate the formulas into the Godhead method. Formulate ShAAeE in the akasha, this formula contains all four divine aspects and being a four-letter formula will manifest all the way to the material plane. This will set you in the state of the Godhead.

    Then, fine-tune it to form via C in the akasha, either you apply it to the painting or figurine of your personal God, or you apply it to your own shape in front of the mirror until resuming a semblance and posture that is truly divine even in the physical plane.

    This being done, you can vibrate the letters that go into the akasha in the head (now transfigured by omnipotence), the letters that go into the mental plane in the chest (omniscience), the letters that go into the astral plane in the abdominal region (eternity), and the letters that go into the material plane in the limbs (omnipresence).

    It is immaterial if you are using your divine head, chest, etc, or those of the figure of your personal god, but the letters should be vibrated from the depth point of head, chest, abdominal region and, when in the limbs, from the depth-point of the whole body, manifesting all four divine qualities.

    Let us take the example of L-A-W, we would manifest it in the abdominal region, through the depth-point of the place of immortality. Immortality contains omnipotence to go against all odds and omniscience, since it covers all knowledge in time (likewise, emotion, tied to the abdominal region, needs the friction between will and cognition, or the intestine is controlled by the brain and fed by the stomach). This means omnipotent mysticism, omniscient symbolism and eternal magical equilibrium.

    When I was training with my old mentor we would always open or seal the formulas with the four divine qualities by removing time and space from the subconscious, for instance: “Omnipotent, Omniscient, Immortal and Omnipresent G-A-W, manifest omnipresently, eternally, omnisciently and omnipotently.”

    5 – At what point in the Practice of Magical Evocation is it optimal for the student to begin Kabbalistic formula work? While one might look to the genii contacted via evocation for timing, a more general framework for this crossover point would be helpful.

    You may begin at any stage. It is optimal to visit the spheres first in order to expand consciousness and prepare your brain for more abstract living principles, but you have visited them at the final stages of IIH already. So now you can begin at any time, as long as you do it as Bardon teaches. Bardon has set the stage for you: you have the tool of a creator, but aren’t yet one.

    Now, to understand the real origin of the Key that is the real Key to true Quabbalah, you start in Uranus. That is where you understand that this key is the key used by Bardon to devise his own system, but it is transversal to all things and crosses way beyond Bardon’s system. “Now I am become Life, the creator of worlds.”

    This inversed quote is true of the so-called transplutonian quabbalistic exploration, with all kinds of applications below. The technique itself, however, to us in our kingdom of mimic, means mostly dissecting qualities and powers and obtaining a mnemonic alphabet with which to reproduce them methodically in the consciousness that exists throughout our multiple bodies while being able to project them (the qualities and powers) in the very planes these bodies inhabit.

    This is how in The Path of Ipsos vol I, I develop a quabbalah of the mineral kingdom components, a quabbalah of the vegetable kingdom components and one of the animal kingdom components. This is how, as well, in my The Path of Ipsos Vol II I dedicate 300 pages to the quabbalah of the chemical elements, which will lead one, in advanced stages of research and exploration, to the same ends as Transplutonian Sphere Quabbalah.

  • Panic Magic: A Hero’s Journey by Clint Sabom

    Panic Magic: A Hero’s Journey by Clint Sabom

    My new book, Panic Magic, published by Star Lore Publishing, is now available on Amazon

    This work moves like a Hero’s Journey of a tormented magician. Troy Abraham, living in current times, remains deeply traumatized from childhood sexual abuse, but he has the power to levitate. He performs at larger and larger venues, asking the audience to check him for any strings or wires in order to prove it’s true levitation. He delivers poignant, mysterious monologues in between levitations, often challenging the elite. He frequently slips into Surrealistic visions and undergoes many life-threatening magical battles with dark magicians. He travels to other dimensions and encounters spirit guides. Eventually, his performances draw the attention of nefarious enemies, and intelligence agencies recruit him to gather intel, all of which culminates in him performing a show in front of The Lincoln Memorial.

    Since a young age, I have wanted to be a writer.  I began writing short stories as early as 7 years old. Later, especially in high school, my writing moved to poetry.  My initial poems were very symbolic, almost metaphorical renditions describing the feeling of my teenage angst.  They may not have been poems that could be published in highly prestigious literary magazines; however, I managed to get some of them published.  When I sent in my application to the admissions committee at Vassar College during my senior year of high school, I included some of the poems. My acceptance letter came back early, and they were enthused to have me come.  Interestingly, they said poems usually did little to influence an admissions committee, but mine demonstrated philosophical thought to such an extent that they were impressed.

    I continued writing poetry during my 20s, and unfortunately, I was horrendous at keeping up with them, organizing them, saving them, and trying to get them published. I got big compliments from the people that saw them, and I also wrote poems for people.  However, I struggled with prose.  My prose seemed to come through me at an angle, like I had to dissociate to do it. It felt mentally unhealthy.  Yet I had many ideas for novels, and I would write sentences, paragraphs, pages, solely in my head, never writing them down.  It was weird.  When I took a fiction writing class, I managed to write some good prose down, and the instructor was impressed.  However, I could not manage to just sit down and write the novels of which I had brainstormed.

    This continued into my 30s, and poetry remained the main pursuit.  Finally, I began to send them off to literary journals, and I got some of them published.  I wrote some articles for magazines, even.  But I practically gave up on writing a novel.

    Finally, I found my voice in my late 40s and wrote Panic Magic.  I’m not sure how it happened.  I cannot even remember how I started or if I even had a plan.  But the book flowed out of me smoothly.  It didn’t seem to disassociate me like before in my younger years.  I was able to write it and still stay grounded.  It happened.  I hadn’t been sure beforehand where I was going, but the book began to tell me as I continued to write it.  It had become a living organism.  And, most importantly, it was fun!  I loved the process!  I had finally found my voice.

    One inspiration was the founder of the Surrealist movement, Andre Breton.  A decade before, I had won an award at an academic conference on a paper of Surrealism.  Years passed, and I hadn’t picked up The Surrealist Manifesto in awhile.  Yet in it, there was a novella by Breton, Soluble Fish. It’s prose, with often seemingly disconnected sentences and paragraphs, images that defy the laws of nature, a dream sequence in short.  Yet there is some cohesion.  Sometimes, I would pick it up right before writing and read a few pages.  It got me into the flow, and while my prose is much more linear and sensible than Breton’s, Soluble Fish made me a better writer.  I read it again and again, trying to infuse it in my blood.  It especially helped with the mysterious monologues that my protagonist gives in between levitations at his shows.  And certainly it helped with the Surrealistic visions the main character often slips into.

    However, all that said, and Surrealism itself aside, Panic Magic moves with a linear story line. Sure, I kept spaces open for more stream of consciousness, but the overwhelming majority of Panic Magic is straight forward.  No way to get lost.  It has a good plot, even a thriller component, if I do say so myself. 

    Alas, the protagonist, Troy definitely started off as myself. I had to put myself somewhere in the book; it was inevitable. So I began with the first person narration of Troy.  Quickly, though, almost instantly, the character become something else. An idealized version of myself? A more negative version? A situation much more fantastic than my own? A previous version of my lost fantasies? A space to exaggerate and distort all the workings of my mind? The hero that I’ve never been? The dreams of grandeur of a teenage boy? Yes, all of the above, and more could be enumerated. I began to identify with someone else; I became someone else when I was writing the book.  And what an incredible pleasure! To live another life, parallel to one’s own! It was a fun life, and I craved going back to it. So I couldn’t help but sit at the computer and write, write, write.

    The response I’ve received so far from dozens of readers has been overwhelmingly complimentary.  Even while I was writing this post, one just came in saying that he was loving the book, and it didn’t seem like the work of a first-time fiction author but of a seasoned storyteller. 

    Most importantly, though, writing became a joy with Panic Magic.  What had previously been blocked and stammered opened up, and the result is an Urban Fantasy novel.  I hope you like it.

    Additional Information

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    The ancient Chinese sages spoke of jing, chi and shen. The Hermeticists of old spoke of vital, astral and mental energies. Both spoke of ways to convert one energy into another. And the Three Transformations were born!

    Ever wonder how to do this exactly? Wonder no more. It turns out this is not some mysterious thing that exists only for the greatest of saints. All the details behind how to convert one of the basic natal energies into another, why you would want to perform the Three Transformation and the various issues involved are included in this SixtySkills course.

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  • From the Depth Point to Life on Venus, by André Consciência

    From the Depth Point to Life on Venus, by André Consciência

    Introduction

    “Show me one point on the Universe and I shall move the Earth!”

    Arquimedes

    This sentence quoted by Franz Bardon on Initiation Into Hermetics was always one of my old mentor’s Magnus Sarmarx favorite sentences, and he quoted it to me very often, as you may find in Arcanum Hermeticum (Sirius Limited Esoterica) and in the imminent Great Treaty of the Reintegration of Beings (Sirius Limited Esoterica). It moved Magnus to search Arquimedes in the Akasha. Bardon used this quote to refer to what he calls the Depth Point, the secret of the Fourth Dimension. 

    About it, Bardon explains: “If in the middle of a form, for example a sphere, we imagine a double crossing, on the crossing spot we get a point, the so-called depth point. Archimedes certainly had this point in mind because it is actually the point of beginning, the starting point, the nucleus of every form. Regarded from this point, every point is symmetrically objective, meaning that it is in its true equilibrium.”

    From this, we understand that the depth point, regarded magically, must hold the key or one of the keys to magical equilibrium. It is important to highlight this, since Initiation Into Hermetics does not, when it comes to the practical section. In Bardon’s work we have learned, before, that magical equilibrium depends on the equanimity of all four elements, fire, air, water and earth. This is also present, when Bardon refers to a cross (or double crossing). At the same time, we are reminded of Bardon’s depiction of the magical circle in The Practice of Magical Evocation:

    “To draw a magic circle means to symbolize the Divine in His perfection, to get into contact with Him. This happens, above all, at the moment the magician is standing in the centre of the magic circle, for it is by this act that the contact with the Divinity is demonstrated graphically. It is the magician’s contact with the macrocosm in his highest step of consciousness.”

    To stand in the center of the circle (a two-dimensional representation of the sphere) is to actually stand in the depth point. Hence “the concept of time and space, of timelessness and spacelessness, and therefore also the secret of space magic”.

    Form, represented by the circle or sphere, is time and space, its center is timeless and spaceless, like any dot is, mathematically, dimensionless. No wonder, then, that the magician in the circle is capable of calling forth unto manifestation powers that exist outside the conditions of time and space and that then partake of time and space. What is more, the circle is not only a particular time and space, but the whole time and space, it “stands for the Beginning and the Ending, for the Alpha and the Omega, as well as for Eternity, which has no beginning and no end”.

    The fourth dimension

    Any true practitioner will understand that in this “mental balance” that is “the specific fundamental property of the akasa or causal principle of the mind” we are talking of Bardon’s state of akashic trance, or “magic trance”, in which the practitioner is directly transferred to the akasha by standing consciously on his or her own depth point. While the akasha is timeless and spaceless, it manifests in the human soul as total mastery over the four elements and as their quintessential equilibrium. As well, this fourth dimension is the fertilising power behind the first dimension, second dimension and third dimension, just as the akasha is the fertilizing power behind the mental, astral and material planes.

    A 4D consciousness can see a 3D world (in both its time and its space) all at once just as a 3D being can see a 2D project from above. This is why I am always amazed when magicians wonder how a being that is being evoked from the fourth dimension can attend two magicians at the same time, or when magicians wonder if a being might have reincarnated to disappear from the fourth dimension, who knows never having learned to see from the fourth dimension themselves. What I am saying is, if the practitioner has gotten the Depth Point right, the game changes: we are understanding and operating from the totality of existence beyond space and time, where the brothers and sisters of our magical chain await. 

    I am brought, by this, to the hypercube (a four dimensional cube) I teach about in The Inner Gateways of LAM (Esoteric Pillars), in which we withdraw from the phenomenal world into vacancy, within the awareness of our consciousness, seeing in the inner and the outer as one. We then reach seeing the inner and outer as one from inside and outside ourselves and all others, for there will be no difference between us and others. At this point we may hear the cosmos vibrating in our ears, the force of force in our lobes, the Tao in our halos, the Supreme Subject in the body. Then the walls of the cube reflect. What is spoken is the speaker, what is observed is the observer, what is known is the knower.  

    In Franz Bardon’s system, we begin by observing the observer (observing thoughts), then knowing the knower (soul mirror), and we end up with the speaker being spoken (The Key to the True Quabbalah). All of this, however, is realised simultaneously the minute we truly achieve the depth point. 

    It can be seen, then, that this technique given to us in Step V of IIH not only seals our beginning practices and our magical equilibrium, as it is the very base for everything else from there on, and beyond. 

    To keep with the hypercubus (the further extension of the cross) I remember writing in The Inner Gateways of LAM (Sirius Limited Esoterica):

    “Among the strange beings that might be found on Perseus are those best described as quanta. To us, on earth, they are unmanifest yet still verifiable by quantic principles. For instance, seen from the speed of light, a certain region on earth would comprise in space all the changes happening over time simultaneously in what we can only describe as a sort of cosmic foam. If we were to freeze such a moment, a single area would have to expand infinitely in space to materialize all the changes. The body, impulses and muscles of these very beings can be said to be the speed of light. If they are to gaze at the stars, their body immediately captures what they are gazing at and it becomes a part of their structure of influence. However, beings such as these still dress in human bodies and walk on the very Earth.”

    I have said in my book A Guide to Stellar Magic & Astrological Mysticism (Falcon Books Publishing) that “consciousness cannot cross dark matter without the aid of or reference to light. Because of it, light has imprinted on the dark matter the digital print and the railroad of the fractal, and if light can become extinct, it still cannot be extinguished.” I was referring to the railroad of beings such as those above mentioned. And by dark matter we may understand the Akasha (fourth dimension), and by light (in its speed) the Principle of Light (the spark of the mental plane, first dimension).

    Some may wonder: How can it be that André, who speaks of Perseus, has crossed beyond Saturn, let alone Neptune? The mental body cannot stand it, worst still for the astral body. Well, I was listening when this lesson about the Depth Point was being taught. I lost my limit, I was the Universe and everywhere was my center. 

    I have also written, in the same work (A Guide to Stellar Magic and Astrological Mysticism), “I am in a black ziggurat as tall as the stars, it has dark blue veins of stone and golden inscriptions. A shadowy, mighty and dark blue being folds the black cube into place. At the terrace, a being is born into its white glowing body.” Then it is said that my guide on this occasion, named Ugripon, to be found in Franz Bardon’s “The Practice of Magical Evocation”, told me from the mouth of the shadowy being “All is flesh…”  

    The cube is the hypercube, that all is flesh speaks of the same muscle of light speed. The black ziggurat is infinite space and infinite stars, a name of Isis, goddess of magic, and all of it is an adornment to the concept of the Depth Point. 

    The Depth Point as a Universal Doctrine

    These things are mere curious examples of the far-reach of achieving the depth-point alone. What is more, the practice is quite easy. In the “Elemental Magic” course I right at level 1 have the student try reaching the depth point of a crystal ball. The best obstacle I have heard about is: “I cannot forget my body”. Ah, because Bardon said that they would end up forgetting about the body, the body is what the students keep remembering. Reaching the depth point doesn’t mean your physical body will disappear, it means it is a deeply immersive experience. When I am writing, I sincerely forget about my body. Even if I am freezing, I only realize it after I stop writing. It is no miracle, it is regular human nature. 

    Since I know James Robson, he has been quite surprised by the absence of material talking about the depth point. I share his surprise, but extend it further (although I must say that it is, indirectly, omnipresent) to further magical systems.

    When I was training in the Thelemic Golden Dawn, quite before reaching IIH’s step V, I was taught to contemplate the qudrature of the circle (the struggle to reconcile the finite with the infinite, the material with the divine) while using pranayama and focusing on the center of the surface of a sphere (it being that each and every point must necessarily, by the art of mathematics, be the center). Before one could understand this secret, it was considered no real magic could be practiced. Squaring the circle is the same as understanding the hypercube. 

    If we consider the whole thelemic magical system, this transcendence of the fourth dimension is represented in one of its final goals, crossing the abyss, and yet it is imbued right at the beginning, within the hypercube at The Minor Banishing Ritual of the Pentagram and the Star Ruby.

    When we consider the whole thelemic philosophy, it becomes even more evident. Let’s remember Bardon’s depth point is equally the absolute center of a space, object, or being. It is beyond time and space, and the most fundamental essence of existence. It must be then that in meditation, the magician who finds the Depth Point within themselves reaches pure unity with the universe, dissolving all illusion of separateness. In sum, it is the gateway to Akasha, the formless, eternal source that precedes and permeates all creation.  

    While we may choose to dismiss all magick from Thelema, we cannot understand it without its philosophy, and its philosophy is based in two principles. If both are understood, Thelema is understood. These principles are the Infinite Extension and the Infinitely Small. Nuit is the infinite expanse in quantity, cosmic totality in quality, and the exoteric night sky, the boundless all where both meet. Hadit is the infinitely small in quantity, the singular, eternal point of perception in quality, the hidden fire, the spark of life where both meet. Hadit declares, “I am the flame that burns in every heart of man, and in the core of every star.” Nuit says, “Come forth, o children, under the stars, & take your fill of love!”  

    Their union represents the reunion of the macrocosm and the microcosm in the place where duality collapses, in the magical trance or akashic trance.  

    No matter if we call it Hadit or the Depth Point, we refer to the center, to the unchanging and hidden heart of all things. No matter if we call it Nuit or Akasha, we refer to the infinite field of potential. In meditation, when we center in the Depth Point, we experience the dissolution of self into Nuit, while still being the burning awareness of Hadit (the exorcist magician). The moment is pure, eternal presence, the state is the Great Moment of Now.  

    The Depth Point is a Life Philosophy

    So, now, we must come to yet another conclusion. The depth point is not a practice delegated to a certain magical field, it is to become the seat of consciousness that results in our mode of life.

    When we genuinely listen, Bardon teaches that mastery of the Depth Point allows full control over reality, as the magician aligns with the true nature of existence. The Point in Depth-Point is Hadit’s ultimate subjectivity, the pure “I AM” which is both outside time and the driving force of all experience. Depth is standing in the Great Moment of Now in perfect union with Nuit, the experience of the infinite, that is, the possibility of manifesting the infinite in the finite. Thus, we circle back to the topic of magical equilibrium, to the stone of the philosophers: “Since the akasa principle ignores time and space, acting permanently in the present time, for the concept of time depends on our senses, the magician is advised to adapt himself as much as possible to akasa. He must acknowledge the great moment of NOW as representative, thinking and acting according to it. (Initiation Into Hermetics)”

    This is not to dispense with introspection, or to mistake magical equilibrium’s harmony for carpe diem, as I have written about in another Perseus guest post, IIH Step VIII. If you move unprepared, Bardon affirms the “Akasa will derange a person mentally, arouse doubts of all kinds, or hold him prisoner by vicissitudes and reverses of fortune in order to protect the mysteries in every possible way. These mysteries will always remain hidden from incompetent persons, though hundreds of books should be published about them.”

    What is more, the thelemic connection remains. It may be equated that to do one’s True Will is the fifth power of the Sphynx, “to Go”, added by Aleister Crowley but spoken of by Eliphas Levi. And “to Go” is the Being for the State called The Great Moment of Now, that is, the now is as the now goes. 

    Let’s see: “To attain the SANCTUM REGNUM, in other words, the knowledge and power of the Magi, there are four indispensable conditions–an intelligence illuminated by study, an intrepidity which nothing can check, a will which cannot be broken, and a prudence which nothing can corrupt and nothing intoxicate. TO KNOW, TO DARE, TO WILL, TO KEEP SILENCE–such are the four words of the Magus, inscribed upon the four symbolical forms of the sphinx.”

    Eliphas Lévi, Transcendental Magic

    “You are familiar with the Four Powers of the Sphinx, attributed by the Adepts of old time to their Four Elements. Air is to Know, Scire; Fire is to Will, Velle; Water is to Dare, Audere; and Earth is to Keep Silence, Tacere. But now that a fifth Element, Spirit, is generally recognized in the Qabalah, I have deemed it proper to add a Fifth Power corresponding: to Go, Ire.

    Then, as Spirit is the Origin, the Essence, and the Sum of the other four, so is to Go in relation to those powers. And to Go is the very meaning of the name God, as elsewhere shewn in these letters; hence the Egyptian Gods were signalized as such by their bearing the Ankh, which is a Sandal-strap, and in its form the Crux Ansata, the Rosy Cross, the means whereby we demonstrate the Godhead of our Nature.”

    Allister Crowley, Magic Without Tears

    As I have spoken of Thelema I could have spoken of the Rosicrucian philosophy, with the rose and the cross as the main tenets, and how it all sums up to the depth point, the center of the cross where the rose blossoms. I bet I could go on forever. Instead, let us resume.

    Before we Go, we must reach the four previous powers of the sphynx in their balanced state. Crowley affirms that in the Sphynx “is the Equal Development and Disposition of the Forces of Nature, each in its Balanced Strength.”

    “The Kerubic sign in any Element exhibits the most powerful and balanced form of that Element. Attached to these are the names of the four Virtues of the Adept, those which enable him to overcome the resistance of the elements; they are: to Will, to Dare, to Know and to Keep Silence. By the harmonious exercise of these, the fifth Element of Spirit is formulated in the being of the Adept. It is the god within, the sun, which is the centre of the Universe from the human point of view, with its own particular virtue, which is to Go.”

    But it’s not only the magician who goes… and you wonder how I travel far?

    “Show me one point on the Universe and I shall move the Earth!”

    Arquimedes

    Saint Patrons of the Depth Point

    More recently I have developed new ways of working with the Depth Point based on teachings by Michael Bertiaux, namely his The Voudon Gnostic Workbook, mixed with the Voudon I learned from the Haitian line. It was made clear to my understanding that Papa Legba is, as the master of the double crossing, the master of the Depth Point, in very much the same sense as Carlos Castaneda refers to the Assemblage Point. To Carlos Castaneda, moving one’s Assemblage Point (which is the center of energy and sensory input, the center of reality) can subtly change one’s worldview or change the entire reality into a whole new universe. The Depth Point is the Assemblage Point, and the Assemblage Point is Legba’s Crossroad. The role of the Shaman in Castaneda’s Toltec Shamanism is moving the Assemblage Point consciously, instead of unconsciously, like what happens through, for instance, trauma, or deep fear, avoiding states of insanity. In Gnostic Voudon, what would be similar to changing the assemblage point is connected to the work of Spider Loas who manipulate existence, allowing initiates to influence fate, and who assist in astral projection, dream control, and remote viewing. Some, like Guedhe L’araignée, work with the dead, linking past, present, and future through psychic “webs.” The spider in the center of the web is the self-aware consciousness inside the Depth Point. But then, who is Legba, since Legba is no araignée, no spider? 

    If anything, I’ve seen him as a black dog with a human cane guarding the crossroads. Legba is the gatekeeper of the Akasha, and opens or closes the gates. His gates are gates of clarity, communication and open through decision, his gift is direct access to the Lwa. Legba, being a trickster, works not with deception, manipulation, or illusion, he works with tests and lessons, he is the messenger of Divine Providence who is here to break us free of the shackles of our limitations. To stand with Legba, we stand in the Great Moment of Now through the Akasha, to stand with the Spider Lwa, we may move somewhere else, and Michael teaches us of a special Laboratory of Vudotronics Engineering presided by Legba in the fourth dimension, that becomes the workshop of the Spiders.

    It works by getting to the Depth Point of logical systems in their geometry, making use of the different rates of vibration within the fields of magical energy and combining rates from different logical systems. It could be understood by this that we transfer our consciousness to the matrix of a whole system, and from that system to another, building thus and progressively a greater and greater consciousness. 

    Bertiaux calls the Depth Point of Black Box, from which come thoughts (rates), and fluids (waves). “These waves provide us with the rates, and the rates are geared to the control settings on the black box, which has its own way of working, once it is set in operation. The magicians of this system are also magickal engineers and they operate the system in such a way that it is possible for them to send out powers in any direction and to any place and/or person.” That is, the powers are sent from the fourth dimension, from the Akasha. 

    A Black Box on Venus with the Earth on it

    Bertiaux describes beings from Venus who have created celestial bodies out of uniting complex psychology systems with oracular systems and who radiate to our mundane sphere, visiting this way. But the way they visit us and the way we may be visited can mean very two different experiences, since one is taking place in the fourth dimension, and the other on the third. 

    While writing The Inner Gateways of LAM I committed to learn this craft myself, and I called it the Space Craft. In sum, the substance of the ship has been described by our previous definition of the Principle of Light, then, the first stage has been depicted by the magician inside the circle, and what Madame Blavatsky called the Cosmic Web, that is, the sum of emissions or emanations of the symbols of being stored in the silent consciousness, that is, the potencies that make being possible and that make all things become.  Now the compass or coordinates in which the Spider-UFO moves is what we have understood as what is reached by the Depth Point in its ultimate extension, the ideal future sum-organization of all space and time references in the multiverse. It is clear then, that the greater depth-point can choose to imbue any coordinate of its perimeter, and this will represent a second depth-point, a microcosm to that macrocosm.

    This is not or should not be unknown to the Bardon practitioner, and we can read, in The Practice of Magical Evocation, the following:

    “Take your magic wand into your right hand, step into the centre of the circle and concentrate on the idea that you are the centre, that you are God, the sovereign of all spheres and that you are with your all-consciousness at the same moment in the Venus-sphere.”

    On a human level (but not only), the Depth Point can fix a location by three anchors so that the emissions land on that location and the leap is achieved. These anchors can be used alone or combined. 

    The first anchor is the tension and inter-dynamics between reason and the introspective experience of all future possibilities. 

    The second anchor is made of the tension and inter-dynamics between reason and instinct.

    The third is the tension and inter-dynamics between instinct and the introspective experience of the past. 

    Limitless possibilities can be achieved and the leap can use any of the three anchors in the experience and history of the worlds of awareness, in chaos, natural powers of essence and substance, the history and experience of silence, the history and experience of the sensual world, of the worlds of power and the worlds of ideas, of the worlds of being and intelligence, worlds of polarity and intention. 

    As the Inner Gateways of LAM states, the “possibilities include landing on another person or being, given that we know enough about the elements we have just named in the above paragraph as they irradiate from the original imagination of this person. The second anchor allows us to take possession of the mind and body of the person or to kidnap her back into the UFO and transport her to her past or future or another universe. But it is also possible for the leaper to experience the past or future of this person or being.” 

    Now back to the beings of Venus and their Vimanarupa (celestial vehicle or machine), we are in this particular instance talking of what we are to understand as human beings, the same Bardon described in this fashion:

    “Once, I was (…) visiting the planet called Venus and was able to watch the life and doings of the Venusians, who have a light-silvery skin and are much more advanced in their spiritual development than man on earth: they are far more advanced in technology than we are. Due to their technical achievements they are able to leave their planet without effort and visit other planets without hindrance, contrary to man on earth, who has not yet been able to proceed far beyond the stratosphere. In size Venusians are somewhat shorter than we.” 

    These exotic beings are “beautiful human beings who, apart from that, are, in comparison to man on earth, more advanced in knowledge and wisdom, in magic, art, literature, technology, etc. (…) A trained magician who by mental wandering is able to roam the planets and spheres with his mental body will also find men on the Venus planet who have been initiated into magic and quabbalah and he can, if he wishes, get into contact with these. Unlike the other inhabitants of the planet, he will not even have to take on the shape of a Venusian; the initiates there will, nevertheless, be able to perceive him and explain to him everything that he is interested in.”

    Bardon tells if we describe what we are taught by this civilization, we might be laughed at. The clue I am following comes from Michael Bertiaux, and to reproduce the spacecraft or magical computer, that is, the Vimanarupa, I must design a mandala of essential waves of the planet’s nature that also serves as the logical diagram of the civilization for the inhabiting humans. From this mandala, I find the Depth-Point and am, from there on, inside their Vimanarupa instead of under it. This secret is valid for many schools of initiation throughout the universe. Without further delay, let us design this geometry

    Vimanarupa Design

    Venusian Types of Awareness:

    – Elevated spiritual consciousness, focused on love, harmony, and beauty.  

    – Deep awareness of magical and quabbalistic forces.  

    – A heightened perception of attraction, desire, and unity.  

    – An advanced understanding of artistic and intellectual expression.  

    Chaos:

    – Chaos manifests as temptation and enchantment, particularly through overwhelming beauty and seduction.  

    – The risk of being enthralled by ecstasy, leading to stagnation in progress.  

    – The pull between indulgence and higher wisdom: one must tread carefully.  

    Natural Powers:

    – Control over the electrical and magnetic fluids, particularly in relation to love and attraction.  

    – Influence over fertility and the forces of propagation in both the human and natural kingdoms.  

    – Mastery of art, music, philosophy, and inspiration as divine expressions.  

    – Deep knowledge of harmony and balance in both living beings and the cosmos.  

    Quality of Silence:  

    – A silence filled with intoxicating love and emotional resonance.  

    – The stillness of contemplation before yielding to temptation or resisting it.  

    – The silence of sacred, unspoken knowledge shared only among initiates.  

    Time Characteristics:  

    – The sensation of timelessness, where ecstasy can feel eternal.  

    – Rhythmic and cyclical, tied to growth, love, and cosmic harmony.  

    – A flow aligned with divine providence rather than linear progression.  

    – A system where past, present, and future interweave through quabbalistic insight.  

    The Sensory:  

    – Dominated by beauty, color, music, and intoxicating emotions.  

    – The perception of love as a tangible force.  

    – Heightened aesthetic and erotic sensitivity.  

    – A world where sight, sound, and touch are intensified beyond earthly limits.  

    Power and Ideal:  

    – The ideal of divine love, beauty, and harmony.  

    – Power is rooted in attraction, inspiration, and the ability to influence others through charm and magic.  

    – A balance between indulgence and higher wisdom determines one’s mastery over this sphere.  

    Hierarchies of Being: 

    – Highly structured, with initiates, magicians, and divine intelligences guiding the sphere.  

    – Beings range from ordinary Venusians to magical masters and quabbalistic initiates.  

    – Divine intelligences serve as both guides and gatekeepers to deeper mysteries.  

    Polarities:  

    – Love vs. obsession.  

    – Spiritual enlightenment vs. indulgence in pleasure.  

    – Beauty as a divine gift vs. beauty as a dangerous temptation.  

    – Creative inspiration vs. passive intoxication.  

    Directions:  

    – Upward movement toward divine love and wisdom.  

    – Inward self-discovery through magic and quabbalah.  

    – Circular patterns of influence, representing cycles of attraction and learning.  

    – The movement between Venus and other spheres, showing its connection with cosmic forces.  

    The coordinates being set, we build the mandala, to make it easier on the mind and its mnemonics. The main structure is a Heptagon (Seven-Sided Polygon), since Venus is associated with the number 7 (harmony, love, and cosmic balance). At its center there is a large triangle (divine ascent and wisdom) enclosing a square (stability and material reality), for the balance between earthly and divine love. Overlaid is the heptagram to express the mystical nature of Venusian forces, love’s power, and the dynamic between attraction and wisdom.  

    Around the whole conjunction we draw radial layers, in which the Inner Circle represents the Quality of Silence, a sacred void filled with the resonance of love and wisdom. The Middle Circle, divided into seven equal sections, corresponds to the types of awareness, hierarchies of being, and sensory influences, each filled with patterns of attraction and energy flow.

    These patterns are
    1 spirals and waves for Chaos, the intoxicating oscillation of love and power, and the fluid of attraction and influence. 
    2 Patterns interlocked for the Natural Powers, between electrical and magnetic fluids, fertility, and harmony in the cosmos.
    3 Arrows and flowing lines, the movement towards enlightenment or entrapment through the Venusian hierarchy.


    The Outer Circle Depicts polarities (love vs. obsession, indulgence vs. enlightenment) in a swirling and oscillating pattern, the push-pull of Venusian forces.  

    Before I proceed any further with my example I must take a moment to hear your call for it states that after all, as I have heard some critics say, Franz Bardon was influenced by the literature of his time in thinking there might be human beings on Venus, Jupiter or for instance Saturn. It was a fantasy by the author. And today it is common sense that Venus has an extremely hostile environment for life as we know it. The surface temperature is around 900°F (475°C), hot enough to melt lead, while the atmospheric pressure is 92 times that of Earth, equivalent to being nearly a mile underwater. Its atmosphere is mostly carbon dioxide with thick clouds of sulfuric acid, making the surface an infernal, suffocating, and crushing landscape.  

    However, life in the clouds of Venus has been a topic for science. The upper atmosphere, around 50 km (30 miles) above the surface, has temperatures and pressures much more similar to Earth’s. Some scientists have hypothesized that aerial microbial life could exist there, surviving in acidic droplets much like certain acid-resistant bacteria do on Earth. Just five years ago, researchers detected phosphine gas in Venus’ atmosphere, likely a biosignature, but its origins remain uncertain.  

    Yet if we do follow this logic alone, we are no longer within the logic of our author, Franz Bardon. Firstly, life might not be carbon-based or physical in the way we typically imagine. It could be plasma-like, photonic, or vibrational entities. Ethereal or quabbalistic intelligences, existing at a higher frequency beyond human perception.  Magnetically structured lifeforms feeding on electromagnetic interactions rather than organic matter. However, Bardon, although making use of these as cosmic intelligences, differentiates from them the humans of Venus. This means they, as humans, can at least have a very similar life form to us. What cannot escape us is that even our own earthly evolution will soon include the fourth dimension from a scientific and materialistic point of view. These Venusians are human beings now of the fourth dimension that can as well inhabit all lower dimensions.

    If we consider life on Venus from a fourth-dimensional perspective, things shift dramatically. The extreme heat, pressure, and acidic atmosphere that make Venus uninhabitable in 3D reality becomes beneficial in higher-dimensional existence.  

    These human beings can phase in and out of material reality, appearing only when certain conditions align. What we perceive as a toxic atmosphere is a completely different fluid medium in 4D, a vast, luminous sea where beings swim through electromagnetic currents, a transdimensional hub where they co-exist with souls, thoughts, and even the form of dreams: why Bardon states they can perceive the sphere magician right away. In the fourth dimension Venus has fluid-like geometries shifting in response to consciousness and structures are self-organizing, existing in multiple states at once. Even in the material form these humans appear more as light beings than we, for they have become more sound-based entities and more easily influenced by pure thought-forms. 

    Human intelligence for the humans of Venus manifests more as self-aware energy patterns, evolving through resonance rather than biological reproduction. As humans are able to inhabit multiple timelines simultaneously, they can appear as different versions of themselves depending on perspective.  

    But enough has been said. Now that we have taken the issue out of the way, all we have to do is reach the depth point of the explained geometrical logic and enter the Vimanarupa. This will lead us to an inner knowledge of it, but will not do the job of transmitting to our very level of existence, as described by Bertiaux. 

    To do that, we need to find our own logical geometry. 

    Buttons on a Black Box Called Earth

    Types of Awareness:  

    – Rational and empirical thinking  

    – Intuitive and subconscious perception  

    – Emotional intelligence and social cognition  

    – Sensory awareness of the physical world  

    – Spiritual and metaphysical insight (varied across cultures)  

    Chaos:

    – Unpredictability in nature and human behavior  

    – Scientific uncertainty and emergent phenomena  

    – Societal and cultural disorder vs. order  

    – The interplay of free will and systemic constraints  

    Natural Powers:

    – Gravity, electromagnetism, and fundamental forces  

    – Biological evolution and natural selection  

    – Earth’s elements: air, water, fire, earth  

    – Human technological and creative potential  

    Quality of Silence:

    – Found in deep meditation, nature, and isolated environments  

    – The void between thoughts, a space for insight  

    – Silence as a form of communication (unspoken understanding, presence)  

    – Can be unsettling or peaceful depending on context  

    Time Characteristics: 

    – Linear and progressive (birth, growth, decay, death)  

    – Cyclical patterns (seasons, economic cycles, cultural shifts)  

    – Measured in units (seconds, minutes, years) but perceived subjectively  

    – Past, present, and future consciousness influencing decisions 

    The Sensory:  

    – Five primary senses (sight, sound, touch, taste, smell)  

    – Extended by technology (microscopes, telescopes, AI-enhanced perception)  

    – Emotional and sensitive interactions  

    – Symbolism and cultural associations influencing sensory experiences  

    Power and Ideal:  

    – Political, economic, and intellectual power   

    – The ideal of progress, innovation, and exploration  

    – Battle between control and freedom  

    – Ideals shaped by philosophy, religion, science, and personal systems  

    Hierarchies of Being:  

    – Biological: Microorganisms, Animals, Humans  

    – Social: Individuals, Communities, Nations, Global Systems  

    – Intellectual: Instinct, Knowledge, Wisdom, Enlightenment  

    – Spiritual: Materialism, Mysticism, Transcendence (varies by belief)  

    Polarities:  

    – Order vs. chaos  

    – Nature vs. technology  

    – Individualism vs. collectivism  

    – Science vs. spirituality  

    – Love vs. power  

    – Freedom vs. security  

    Directions:  

    – Cardinal: North, South, East, West (earthly navigation)  

    – Symbolic: Up (transcendence) and Down (depth, subconscious)  

    – Temporal: Forward (future), Backward (past), Present (center)  

    – Cultural directions: East (spirituality), West (rationalism), South (vitality), North (mystery)  

    The Planetary Depth Points

    When we move from the Depth Point of the Venusian Magical Computer and, with its awareness and controls, enter the depth point of our own planetary and civilizational structure, the influence of Venus upon Earth acts as refinement, enchantment, and as an elevation of Earth’s existing structures, introducing new tensions. I can give you an example of how:  

    Types of Awareness (Earth Transformed by Venus):  

    – An increase in emotional intelligence, love and beauty become primary ways of knowing.  

    – Heightened artistic, philosophical, and mystical awareness: the intellect is now understood as inspiration.  

    – A stronger sense of the unseen forces of attraction, energy exchange, and harmony.  

    – Better understanding of unity and the quabbalistic flow of divine love.  

    Chaos (Earth’s Chaos Under Venusian Influence):

    – Chaos takes on a seductive, alluring quality, temptation replacing raw disorder.  

    – The unpredictability of passion, ecstasy, and longing, beauty that mesmerizes and distracts.  

    – A battle between indulgence and ascension, between enchantment and ensnarement.  

    – The danger of stagnation through excessive pleasure, losing progress.  

    Natural Powers (Earth’s Powers Refined by Venus):  

    – Electricity and magnetism become not just physical forces but metaphysical tools of attraction.  

    – Biological and natural cycles take on sacredness, tied to fertility and creative power.  

    – The mastery of music, art, and aesthetics as divine forces capable of leading reality.  

    – Nature itself appears more harmonious, governed more evidently by laws of balance and proportion.  

    Quality of Silence (Earth’s Silence with Venusian Depth):  

    – Silence becomes more profound, filled with a wordless understanding of love and wisdom.  

    – The stillness before surrender, whether to passion or higher knowledge, gains importance.  

    – A veil of secrecy surrounding mystical truths, where only the worthy may hear the “silence.”  

    Time Characteristics (Venusian Influence on Earth’s Time):  

    – Earth’s linear progression is softened into cycles of attraction, growth, and return.  

    – Time becomes infused with timeless moments of beauty, where the past, present, and future merge.  

    – Creativity and love operate outside strict chronology, flowing in rhythms of inspiration.  

    – Quabbalistic insight reveals hidden patterns in Earth’s historical and personal timelines.  

    The Sensory (Earth’s Senses Enhanced by Venus):  

    – Colors appear richer, music more alive, touch more electrifying, reality becomes more sensual.  

    – A heightened appreciation for beauty in all its forms, from nature to human beauty.  

    – Emotional states become more physically felt, with love and attraction becoming tangible.  

    – Art and aesthetics move from being decorations to being divine messages.  

    Power and Ideal (Earth’s Ideals Evolved Through Venus):  

    – The pursuit of power shifts toward influence through charm, inspiration, and beauty.  

    – Leadership gains a dimension of charisma and grace, rulership through love rather than force.  

    – The highest ideal becomes harmony, both within the self and in society.  

    – The balance between indulgence and wisdom becomes a defining struggle of civilization.  

    Hierarchies of Being (Earth’s Structures Shaped by Venus):  

    – A fluid hierarchy where artistic, spiritual, and emotional mastery matter as much as intellect.  

    – Initiates and adepts in mystical and creative traditions rise in influence.  

    – Spiritual intelligences guide human evolution toward unity and divine beauty.  

    – Those who can balance passion and wisdom ascend, while those lost in indulgence remain entranced.  

    Polarities (Aggravated Tensions Introduced to Earth by Venus):  

    – Earthly rationality vs. Venusian intuition.  

    – The pursuit of truth vs. the allure of illusion.  

    – Love as divine connection vs. love as obsessive attachment.  

    – The artistic act as sacred vs. art as empty indulgence.  

    – Freedom through wisdom vs. surrender to pleasure.  

    Directions (Earth’s Orientation Altered by Venus):

    – A greater emphasis on upward movement toward divine love and enlightenment.  

    – Increased importance of inward introspection and outward artistic expression.  

    – Circularity replaces linearity in many aspects of thought, symbolizing cycles of love and learning.  

    – A more fluid connection between Earth and the cosmic forces influencing it.  

    Like with all blessings, we can make of Venus our curse. When we are in the Vimanarupa we can sense Venus refining, beautifying, and elevating the Earth at this very moment. But it also tests and tempts. We can use this gift for stagnation. The wise receive the waves and gain wisdom, harmonious existence, and a heightened artistic and metaphysical consciousness. The blind become lost in aesthetic intoxication, mistaking illusion for enlightenment.  

    Conclusion

    The Depth Point is the Wheel, and you are the Pilot. Skip the depth point, and you may become the pilot whose hands refuse to take the wheel of a moving vehicle. From the Depth Point, move in the Great Moment of Now, and the vehicle is your life, the road is Dharma. But I may have shown you, as well, that the Depth Point knows no limits to the dimension of time and space, now Perseus is not even a fragment of a second away. How quickly can you drop your life to the floor to immerse yourself in the great secrets of the Universe, indulged in exotic occult pleasures and fumes of deep stagnation? 

    Further Information

    Work with Andre: Magic and Mystical Introspection
    Work with Andre: Elemental Magic
    Work with Andre: Journey to the Spirit World: Neo shamanism Level 1
    Work with Andre: Ceremonial Magic and the Bardon Tradition

    A Guide to Sphere Quabbalah

    This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

    Learn more
    A Guide to Sphere Quabbalah by Andre COnsciencia
  • How to Use Franz Bardon’s The Key to the True Kabbalah

    How to Use Franz Bardon’s The Key to the True Kabbalah

    Thanks to Sixty Skills for the content of this post – This post is about how to use Franz Bardon’s The Key to the True Kabbalah (Quabbalah). This is a subject that I rarely get to discuss with others, as very few people have undertaken the work described in this book.

    Sequence of Training in the Book

    1. Single Letter Key
      First, you need to work your way through the single-letter key in Franz Bardon’s The Key to the True Kabbalah. This process can take a couple of years, but it is only the beginning.
    2. Planetary Meditations on Kabbalistic Spirits
      After mastering the single-letter key, you move on to meditations on the Kabbalistic spirits of the planets. Some of these spirits are not explicitly listed in Bardon’s second book, so you will need to figure them out through pathworking.
    3. Meditations on the Zodiac Constellations
      The next step involves meditating on the 12 constellations of the zodiac. Again, pathworking will be required to determine the appropriate spirits for this stage.
    4. Meditations on the Sephiroth
      Finally, you will meditate upon the Sephiroth from a Kabbalistic perspective. This progression is clearly indicated in the drawing on the cover of Bardon’s book.

    Purpose of This Work

    Ultimately, this system enables you to invoke the power of letters through a four-part concentration involving:

    • Sephiroth at the Akashic level
    • Constellations at the mental level
    • Planets at the astral level
    • Letters at the vital level

    Additionally, you will need to practice four-letter combinations for all four elements plus Akasha. The combination for Akasha is something you will have to figure out yourself.

    Let Sixty Skills Guide You

    Do you prefer the steps to be clearly defined and put in front of you, so you just have to do the work without any confusion. Then the Sixty Skills Kabbalah course provides this.

    Learn More

    Personal Experience with Bardon’s System

    I have personally worked through several stages of this system:

    • The single-letter formula.
    • The four-letter formulas for individual elements and Akasha.
    • Meditations with Kabbalistic spirits from near-Earth realms all the way out to Pluto.

    At the end of these planetary meditations, it is necessary to re-ground yourself through a series of workings involving both solar and lunar spheres. This serves two purposes:

    1. Clearing “Akashic grunge” accumulated from entities and energies encountered beyond Saturn.
    2. Protecting oneself from extrasolar energies and entities encountered near Pluto, which can be damaging without proper safeguards.

    Extrasolar Energies and Entities

    When venturing into extrasolar regions, it is crucial to invoke specific protective energies because our solar system naturally shields us from many harmful influences. One such protective combination is “LUD” (L-U-D). Failure to use such protections or working with an unprepared mind and body can lead to significant harm.

    Exploring extrasolar regions can provide insights into concepts, technologies, and ideas that may eventually influence our world. For instance, Buddhism and certain technologies may have origins tied to these regions. However, while these energies are too diffuse to have a direct impact here, they can offer new perspectives and inspiration.

    Constellation and Sephiroth Meditations

    After re-grounding in our solar system through solar and lunar meditations, you can proceed with meditating on constellations. This involves dedicating one month to each zodiac constellation over a year-long period.

    Following this, you will meditate on the ten Sephiroth. Although I am still exploring this stage myself, I anticipate that guidance will come as I progress further—similar to how guidance emerged during earlier stages of planetary meditations. (Perseus EDIT – This work is now complete and you will see it in the upcoming Zodiac course. )

    Conclusion

    This meta-system outlined in Franz Bardon’s third book is often overlooked but offers profound opportunities for spiritual development. Upon completing planetary work and re-grounding, I noticed a significant increase in my ability to develop energy at an Akashic level—a process that takes time to adjust to.

    Train hard and be well!

    A Guide to Sphere Quabbalah

    This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

    Learn more
    A Guide to Sphere Quabbalah by Andre COnsciencia
  • Soul Mirror Chess by André Consciência

    Soul Mirror Chess by André Consciência

    In the group for my course Magic and Mystical Introspection I posted a link with the following image and the subtitle:

    “On the power of Introspection:

    Observation of the first image translates into the second. Observation of the second translates into the first.”

    This generated some feedback and soon I understood the necessity to give away one of my personal soul mirror techniques, devised from having worked in Gamification.

    General View

    The initial display of the pieces on a chess board represents the black and the white soul mirrors, adapted to deal with specific first-level passive and active traits. The Queen, because she moves aggressively, is the active root trait, and the king, the passive root trait. The queen is one of those most influential traits that manifests all the time and is quite apparent. The king is one of those most influential traits that remains discrete while being the main instigator of many other more apparent traits. The pawns are third-level traits, and all other pieces represent second-level traits.

    First-level traits are, again, the most influential, and the third-level traits are the least influential. For quantification proposes, first level traits are 3 in the level of intensity and consequence from 1 to 3. Second-level traits score 2. Third-level traits, 1.

    The way the pieces are located among themselves shows how the traits are interconnected.

    How to Start

    The game should be balanced in terms of the elements to prevent causing more harm than good. You should choose the pieces so as to remain with an equal amount of each element at the end. Let us say our King (value of 3) is Fire and our Queen (value of 3) is Earth. One of the second level pieces should be Fire and one Earth, two should be Water and two should be Air. If you place among the pawns (third level traits) three traits of Air, three of Water, one of Fire and one of Earth you have a balanced board. Do not choose the traits arbitrarily though, remember they are to be interconnected.

    If you are working with the Black Mirror, you will devise a White Mirror in which each piece is a good quality you can extract from your faults so as to start the alchemical game in the way to transmutation.

    As you focus on these good qualities, they will gradually take the space of their originators, and as you break the bad traits piece by piece on the board, you have a map in the chess of how other pieces will remain exposed and weakened.

    Example

    Black Soul Mirror Team

    King (3): Isolation (Earth)

    Queen (3): Irritability (Fire)

    These pieces are side by side because, in this hypothetical soul mirror chess, the state of isolation in which the player is at causes all external stimulae to be the cause of irritability. Irritability defends this state of negative isolation fiercely.

    In front of the Queen (Irritability) there is a

    Pawn (1): Agitation (Fire)

    In the diagonal, a

    Pawn (1): Annoyance (Air)

    To the side, a

    Bishop (2): Frustration (Water)

    Their connection to the Queen is more or less evident. Irritability causes agitation in the nervous system, intellectual annoyance and emotional frustration.

    In the diagonal to the Bishop (Frustration) there is a

    Pawn (1): Confusion (Air)

    And a

    Horse (2): Difficulty changing plans (Earth)

    Frustration causes confusion and, because it isn’t satisfied and can’t let go, it causes difficulty with changing plans as much as it is caused by this very same difficulty (remember both pieces – Horse and Bishop – have the same value, 2)

    The connection between agitation and confusion (both pawns side by side) is evident and needs no given theory in the present article.

    In the adjacent houses to the Horse (difficulty changing plans) left to address there can be found a

    Pawn (1): Difficulty concentrating (Air)

    Tower (2): Increased breathing rate (Air)

    To understand better the chain of influences let us now isolate the Tower. It has a 2 value and it is subordinate to Confusion and Difficulty Changing Plans (together scoring 3). The fear of change fed by the uncertainty of confusion and the confusion that comes with the fear itself cause the body to breathe in an accelerated and unhealthy manner. This all the more makes it very hard to concentrate.

    If you start having an easier time changing plans (eliminate the Horse) the Tower (increased breathing rate) may still be well supported by the two pawns in the adjacent houses (together they form the value of 2, the same as the Tower). As long as Confusion and Difficulty Concentrating are around, the rhythm of your breath will not be peaceful. To get to the Tower, you must destroy one of the pawns. When you take away Confusion, the Increased Breathing Rate will still empower Difficulty Concentrating, but it has become manageable. You can now come to master your breath and it will make it much easier to concentrate (and eliminate the pawn). If you manage to concentrate, as well, balancing your breath rate will become much easier.

    Now, let us move to the side of the King (Isolation).

    In front of him, there is a

    Pawn (1): Feeling Misunderstood (Earth)

    Diagonal

    Pawn (1): Depression (Water)

    Side

    Bishop (2): Loneliness (Water)

    This isolation makes our sense of existence on the material plane as something that has no place to call home; it causes emotional depression, and not belonging causes a feeling of loneliness. At the same time, depression and the feeling of being misunderstood seem to influence one another, take one away and the other will have less of a mirror in which to exalt itself.

    Unchecked houses next to the Bishop (Loneliness):

    Horse (2): Anxiety (Fire)

    Pawn (1): Avoiding Social Interaction (Water)

    Unchecked houses next to the Horse (Anxiety):

    Tower (2): Decreased Cognitive Process (Air)

    Pawn (1): Cancelling Plans (Water)

    It is easy to see the ascendant of the value and level 2 over the value 1 and level 3 pieces. Anxiety makes us feel like we are not prepared for social interaction. Only to a smaller degree does social interaction in itself make us feel anxious.

    Our decreased cognitive process, affected by anxiety and lack of social interaction, makes us feel like we are not prepared to follow up our plans with success, and we cancel them. To a lesser degree of influence, cancelling them and avoiding challenges doesn’t help our cognitive process get any better.

    Here is a map that allows for strategy and introspective knowledge. The White Pieces will be Key to turning the table.

    How to Win

    The alchemical process starts here. To find the traits for the pieces in the White Team we have but to think that every fault is the corruption of a virtue, and also that every fault still has a positive function hidden in it.

    To make it clearer, let us make a fluid list for the Black Team.

    Tower (Increased Breath Rate)

    Horse (Difficulty Changing Plans)

    Bishop (Frustration)

    Queen (Irritability)

    King (Isolation)

    Bishop (Loneliness)

    Horse (Anxiety)

    Tower (Decreased Cognition)

    Pawn (Difficulty Concentrating)

    Pawn (Confusion)

    Pawn (Annoyance)

    Pawn (Agitation)

    Pawn (Feeling Misunderstood)

    Pawn (Depression)

    Pawn (Avoiding Social Interaction)

    Pawn (Cancelling Plans)

    From it, we build the White Team

    Tower (Alertness) – breathing quickly causes alertness, if we stick with this aspect, we feel in control and breath regulates

    Horse (Persistence) – resistance to changing plans both supports persistence and is its corrupted state

    Bishop (Hope) – Hope is behind frustration, but it is also what defeats it from the inside

    King (Protection) – Isolation is an impulse towards protection, and we can protect ourselves from isolation

    Queen (Courage) – Irritability makes us do courageous things even when we are cowardly, but it is this courage that can end irritability itself

    Bishop (Self-reliance) – Loneliness forces us into self-reliance, and self-reliance redeems the feeling of loneliness and the neediness for others. Without this neediness, we are prepared for healthy interdependence.

    Horse (Goal oriented) – Anxiety releases dopamine, which motivates us to take action to bring about the future we want. Played well, this is anxiety’s self-destruction.

    Tower (Freedom) – Declined cognition leaves us less attached to memory, language and judgement. Being a hard one, this detachment is still compensated by a feeling of freedom from social expectations. With this freedom, we will be able to engage with others feeling less threatened and this, in turn, will increase cognitive abilities.

    Pawn (Dispersing negative thoughts) – Lack of concentration is dispersion, dispersion yet disperses negative thoughts. As we increase our awareness towards this ability and increasingly clean our minds, our concentration will get better.

    Pawn (Dealing with chaos) – Those used to confusion adapt to it, the ability to navigate chaos is the end of confusion.

    Pawn (Sensibility) – Annoyance shows sensibility. If you make use of it, sensibility cultivates humbleness and empathy and annoyance loses place.

    Pawn (Being Active) – Agitation is the impulse towards activity and carries it in its bosom. Activity is the servant of presence, the opposite of agitation.

    Pawn (Self Understanding) – Feeling misunderstood reveals that we understand ourselves better than anyone else. If we really focus on this, we will realize we are understood better than anyone after all, since most do not understand themselves.

    Pawn (Being Analytical) – Depression makes it so we stop being distracted by other issues and focus on what is most important to us at the time. We analyze it over and over until achieving an understanding and release. STOP! I WANT YOU TO REALIZE THAT THIS ATTRIBUTION IS A MISTAKE. It is a mistake not because it is false, but because the original trait is from the water element, and we want to keep all transmutations within the same element. While being analytical is the natural process of depression, it is actually the cause of most of its pain, being the response of air to water and the way in which air attacks this imbalance in water. To heal water from inside we need another trait. Empathy (which depression always cultivates) is its upside in the water element, and it is a focus on empathy that relieves the emotion of depression. So… Pawn (Empathy).

    Pawn (Self-Worth) – Social withdrawal depends on a sense of self-worth to find its balance, and if not the necessary level of self-worth, it contains at least its seed and acts counting on it. This self-worth being fed to maturity, social withdrawal will no longer be a fault but a simple option to take or not to take.

    Pawn (Making Room) – Canceling plans means to quit. To quit means to make room for new things. But just because the room is there, it does not mean we have made this room. To do it means to act consciously. If we become conscious of why we quit, we make room to get busy with what really needs our “business”. This kind of making room is watery, it is true acceptance and receptivity to what is already there occupying the room.

    Things to Consider:

    1 – The White Team is Tabula Rasa. You engage in introspection daily at the end of the day and access the value each piece has presently. That is, how much are you engaging with these virtues and what influence do they have? You will want to become more and more aware of them, to engage more and more, and have them occupy the dedication you are giving to the corresponding dark traits. When one of the faults starts to manifest, you focus on its most useful trait and leave the rest behind.

    2 – At the same time, the black team is organic, it responds. You will want to keep checking if the faults are diminishing. Sometimes, when you attack one piece, the other moves to defend it, or rather, another bad trait starts manifesting more and growing in the score value.

    3 – You will want to strengthen most of your good traits (white pieces), less you, by analogy, get a black pawn to the side of the white team, becoming a value 2 piece or a value 3 (queen).

    4 – While having chess as a map can give you a good strategy to get directly to the king and dissipate all other bad traits, you may run into difficulties. Sometimes it is good to take the time to eliminate the pieces to the sides, because the more you play, the better you get as a player.

    5 – First, you will want to get all the white pieces to have at least the same value that the black ones have at the start of the game, pawns with value 1 recurrence and intensity, king and queen 3, and the other pieces 2. Then, when a white piece scores one above a corresponding black piece, you will see the black piece start to weaken progressively and lose the capacity to fight.

    6 – Like in a chess game, you can’t simply attack the king or any other piece if this piece is surrounded by other pieces and no path has been opened.

    Example

    In a lucky strike, your empathy starts to overcome your depression, awakening compassion in its livelihood (white pawn eats black pawn, in our case, erupts from it).

    In a chess game, the King would be able to eat this pawn. Isolation (the King) will be the enemy of your empathy (pawn), you may feel like withdrawing further, afraid of the impulse of empathy to engage with others and the additional suffering it can bring.

    Self-understanding encompasses now the feeling of being misunderstood (pawn-pawn). But irritability (Queen) may strike back, what is the use of self-understanding anyway if nobody else can understand us?

    But at this stage Irritability has become exposed to Courage. We understand ourselves and others through empathy, and we can afford to be courageous when we want to feel irritated instead. The white queen starts taking the black queen.

    The Black King of Isolation may grow stronger, it doesn’t move against the Queen of Courage as in a normal game, as the pieces here work through transmutation, but it may grow stronger in intensity: we understand ourselves and others and are courageous, but come to the disappointing realization we still find no reason to take any risks with the worthless world around us.

    Be that as it may, the Black King is exposed. If we strengthen the White King (Protection) and truly take measures, we have nothing to lose, there is no risk, no reason not to engage.

    This may not be as simple as it sounds, and strengthening other virtues may be necessary to enforce the White King and achieve this sense of protection.

    Finally, isolation being defeated, the other faults will be seen to flee and leave the board.

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    A Guide to Sphere Quabbalah

    This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

    Learn more
    A Guide to Sphere Quabbalah by Andre COnsciencia
  • Magical Gestures by André Consciência

    Magical Gestures by André Consciência

    Introduction

    “The fundamental principle of rituals is based on confirming an idea, a train of thoughts by an external mode of expression or the other way around, producing a train of thoughts by a gesture or an action, which we shall designate ‘evocation’ in hermetics. This maxim is standing for the entire magical ritual. It is stated hereby that not only any idea can be expressed by an action, but can also be bound to a certain task. This refers to any creature as well. Anything not receiving and bearing a special name, symbol or external mark is without significance. All the magical processes and rituals are based on this primordial thesis in every religious system with its special cults since the remotest times. The only difference is that nothing but a very small part has been accessible to the masses, whilst most of it has been kept strictly secret but reserved only to high priests and adepts. Every ritual answers a certain purpose, regardless whether the point in question be the banning witchcraft of Tibet or the gestures of fingers (mudras) performed by the Bali priests in their cults in the Orient, or the exorcism ritual of magicians. The synthesis will always remain the same. At a trial, the hand with three fingers raised for the oath as confirmation of a truthful statement may also be regarded as a magical gesture. From the Christian point of view the raised fingers symbolize the Trinity. Each of the numerous lodges and sects has its own rites.” 

    “(…) It is of no importance at all to the genuine magician if he reads books about the particular way in which any other magician is drawing his magic circle, regarding it as a symbol of infinity, Divinity and purity, planting his genii and angels in it for the sake of protection, or else how a Lama is painting his Mandala and sets up his Thatgatos as a symbol of protective deity. He does not need such strange directions because he knows very well that they are only a mental support for the mind.”

    “(…) There are magicians who are performing rituals unnoticed in the middle of a big crowd by movements of their fingers in the pockets of their coats. In conformity with the elements, they are using the analogy of the five fingers by inputing the forefinger to fire, the thumb to water, the middle finger to akasa, the ring finger to earth, and the little finger to air. The right hand represents the positive elements and the left one the negative elements. This small example may be sufficient.”

    Franz Bardon, The Practice of Magical Evocation

    Ritual gestures are one of the most magical means used by everyone, religious or not, and superstitious or sceptic. This is simply because every gesture is magical, as will be seen, although not necessarily magically loaded (at least consciously and effectively). Even if this was not the case, ritual gestures would still be one of the most used magical techniques utilized by superstition, and yet, the sophisticated methods of the East aside, not much has been written about their full nature in the West outside of the iconography known to the clergy and similar educated circles. Still if we make use of the little we have, it is fairly enough to keep us going. Aleister Crowley, for instance, uses a set of ritual gestures with dramatic intensity (see the Signs of the Grades and God positions), sharing them with the world, and Franz Bardon a set of ritual gestures prepared with magical quantity:

     “It is very important indeed to manage the accumulation of elements and vital power in the hands and feet very well, because this will be of manifold use in the practical application of magic. The keenest attention should be paid to the fingers. 

    (…) Hands and fingers are usually engaged in magic, so the scholar ought to devote his full attention to them. He must accumulate the element by pore-breathing in one hand or both in such a manner that through a sheer motion of his hand, as if in a flash, he emits the element into the selected space, impregnating it instantly. 

    (…) Bind and fix your personal desire that you wish most eagerly to be realized to your own small ritual or gesticulation, best of all to gesticulations of the fingers, and imagine that your desire is being realized by this gesture, or that it has been realized already. 

    (…) By repeating the imagination with the selected gesture or ritual, a power reserve is formed in the causal sphere of the akasa principle which will adopt the necessary vibration (electromagnetic fluid), colour, sound and all the analogies corresponding to the desire or purpose. We can rightly assert that they are blood particles of the entire condition. If this power reservoir has been loaded by frequent repetition, the mere ritual will produce the discharge of one part of this reservoir, bringing about the necessary effect in this way. 

    (…) As soon as you have produced so strong an accumulation of light, viz., a light dynamide, that your body is bursting, you will feel at the same moment that your whole body, mainly your fingertips, has been loaded with a strong electric current.

    (…) In the right half of your body, accumulate the electric fluid dynamically with all your strength via your hand and finally through the forefinger. Project the accumulated electric fluid to a powerful electric spark and encase it with your imagination exactly in the centre of the talisman.”

    Franz Bardon, Initiation Into Hermetics

    When comparing with Aleister Crowley, Bardon has the advantage of often instructing the reader to use all three bodies (mental, astral, and physical) in gestures such as drawing the circle and others. However, the different meanings and progressive stages of the formation of a gesture in each of the planes are not explained, and we are left with just enough, but not a lot. In this article I am shedding a little light on the subject. 

    My best method

    In A Guide to Sphere Quabbalah, I write


    “A while after I had finished writing the A Guide to Sphere Quabbalah, I managed to recover some old Quabbalistic notes from my late grandfather, José Gomes Consciência, who, having lived a good part of his life in India, in which my father was born, first introduced me to personalities such as Swami Vivekananda. But from him I also inherited notes on worldly horoscopes, astrology, spiritism, ancient civilisations and the quabbalah. The notes I now managed to recover were connected to palmistry, and I thought of experimenting and perfecting the experiments of such notes, finally bringing to paper my old plan of working the planetary light oscillations via the so-called sleight of hand.

    This science, like most of the topics presented in this book, has ancient origins, studied among Egyptians, Chaldeans and Assyrians, then finding great strength among the Hebrews. Latin and Greek philosophers managed to learn these arts.

    Briefly, and for our own purposes, we must state the electric hand is the hand of might, and the magnetic hand the hand of power. The magnetic hand withstands the quantity, the substance of the thing, and the electric hand its function, what it can do.

    The hand, generally speaking, either the right or left hand, is the true pentacle of men. Pentacle comes from pantaculum, that which contains all. In this sense, nature and the universe are pentacles, and the man is the pentacle of nature or of the universe, and the hand is the pentacle of the man: his microcosm. The electric hand represents the active microcosm and the magnetic hand the passive microcosm.” 

    (…) “When we are so used to this practice that it is enough for us to join these parts of the palms of our hands for the effects to take place, we will start touching the electric hand on the chosen regions in order to fill the room with the qualities and light oscillation corresponding to the zones we are touching. We will, likewise, touch the magnetic hand to have these oscillations enliven us and give us their qualities so that we can accumulate them.”

    The book moves to explain a way to use the fingers and hands together with certain quabbalistic tones to devise a whole system of elemental, quabbalistic and planetary magic combined. Although the method is my best ritual method, it still lacks explanation of the foundations previously referred to: the different magical stages of the formation of a gesture.

    In this same title, “Part IV – The Book of Gestures (Motion)”, I proceed to give a combination of internal and external magical motions to each cosmic letter. “We shall, therefore, define an asana to each sphere, the asanas being root positions, and then start working with the cosmic letters. By principle, each of the letters will have internal motion (breath and the motion of the organs) and external motion (outer body and sound).” While this can be considered a polarized (2) key for magical gestures, I will be content when I explain the gestures according to the number 3 and the number 11. By having all into consideration, any ritual comes to fullness in a metaphysical sense.

    In this article, we will use, for the sake of simplicity, examples that can be practiced with the hands. If the reader is to integrate the polarized key, it is sufficient to think of the fingers as the outer body and the different points in the palm of one’s hand as the organs. As the fingers move with elemental power, certain locations of the palm of the hand are pressed or released so different planetary influences can be manipulated.  

    Gestures explained through the mental (symbol), astral (icon), and material (index) planes

    Before anything else, let’s talk about the hand in its purest state. It means nothing, but it holds the original idea of shape, and this idea contains all formation, pre-manifestation and manifestation, yet none in a contained stage. I mean by this to say the hand or any other part of the body (any sign) in its akashic state is nothing but the manifestation of the most abstract mind. While this may sound vague, it is the first mental stance to be taken by the ritualist. Before the hand does anything, the hand is infinite potential, and the hand is boundless.

    From there we derive the symbol and thus we add to the akashic layer of perception the intellectual faculties, as well as to the body of akashic trance the perception of the mental body moving or standing. The symbol connects the abstract sign to a certain meaning that your mind can agree with, and if the collective mind agrees with this symbol, the more power it obtains. For instance, if your hand shapes the letter A (which can be used to manifest the cosmic letter A physically in instances when we cannot be vocal), everyone will recognize the A sound not because the shape has this sound, but because the general individual and collective intellect has this sound for that shape. When you tap into this symbol, you are tapping into a reservoir of mental vitality coming from the sum of all individuals who can agree to this pact of sorts in which the shape of A manifests the ‘a’ sound. 

    Then, as you add your astral body to the equation, you add the astral perception of the sign. This astral perception is the icon. The akasha relates to the abstract or original idea, the mind to the symbol or meaning, the astral with the icon or resemblance (magic of sympathy). An icon stands for something that it resembles with. For instance, the letter A (connected quabbalistically with air) resembles the snowy peak of a mountain. An icon is always a symbol as well because the intellect cannot disagree with a resemblance. But while for the Saanich (certain indigenous people) the letter A sounds like ‘e’ and not ‘a’, and would not work symbolically in this sense, it would still look like the peak of a mountain and work symbolically through the icon. In other words, the vitality that was being generated from the akasha gathers the vitality from the mental reservoir connected to the symbol, and it grows more numerous when reaching the astral plane, accessing every creature that can process resemblance. 

    Finally, concerning the material plane, we work with the so-called index, another state of the sign. The significance of an index comes from a causal relationship; that is, when we cough, it means we are (relatively) unwell, and it signifies sickness because when there is a virus, there is a cough. The connection between the A letter and the ‘a’ sound is also an index because regardless of whether we agree the letter A signifies the ‘a’ sound or not, when people read the letter, they generally make an ‘a’ sound, and the ‘a’ sound is caused by reading the letter on the material plane. The vital reservoir gains the momentum of the power of Nature itself in its mechanism. 

    Engaging holistically in this way, we then seal the formula by making the A shape with our hand, having the mental hand moving the astral hand and the astral hand moving the physical hand.   

    Gestures explained through the ten spheres

    1 – Neptune: This symbolic state has been dealt with in our description of the sign on an akashic level. The hand is an abstract idea of limitless potential within shape. 

    2 – Uranus: Here, the hand (x) means (=) something  (y); let’s say the hand represents magical authority. Now, the limitless potential within shape takes the function of limitless authority within the hand, and what the hand does, power does. It is, again, a symbolic state or mental notion. 

    3 – Saturn: The shape the hand draws during a pose or motion comes to represent a particular thing, so that authority now delineates a path for power to follow into manifestation. This stage can be symbolic (mental) or symbolic and iconic (mental and astral) if it works through resemblance and the magic of sympathy. To use our previous example, we will shape the A letter, so we point the thumb (water) and forefinger (fire) down, forming the shape of an arch turned upwards, and enclose it with the middle finger (akasha). This is iconic because it resembles a mountain with a crown of snow, but also what we are doing is pushing the vital fluid from the source of the akasha to manifest in its dual nature, water and fire, and to further levels in the air element, where it is to accumulate by the conjunction of akasha, fire and water, air being their container and regulator. At the same time, the akashic element that intercepts fire and water through the position of the middle finger represents the intermediary agency of the air element in its highest capacity, elevating it to its higher octave connected to the akasha. This is akin to the power of the mother cosmic letter of Air, the A.

    4 – Jupiter: Now, the hand’s position or motion is to be considered. We will expand the path previously given and turn it into influence over something else. Let us move (motion) the hand that shapes the A mudra to the chest (position). We are, by this means, connecting the macrocosmic power represented to its place of regency in our microcosm (the chest), as well as loading the chest with the air element through the corresponding cosmic letter. Before, we were dealing with pure being, in which shape (quality) x is y power (quantity); in the stage of Jupiter, we deal with the law: doing x with a certain shape does y.

    5 – Mars: Infinite authority, having created the (astral) means for its manifested existence, now turns into (physical) action. The hand, for instance, now commanding the whole body, lightens the incense, preparing to invoke or evoke the sylphs.

    6 – Sun: This refers to a larger meaning that necessarily has been present all along. In the case we are depicting, the magician lighting the incense is at the center of a circle, he or she is in the temple of God as God, and therefore the hand that commands the body is the hand of God that commands the Universe.

    7 – Venus: Here in the sensual sphere, we may use two notions altogether and start working with the sign as an index (material connection). We blow upon the air with our hand, waving it as to move the incense. This has a mechanical cause-and-effect connection; when we blow the air with our hand, it means we are moving (or acting over) the air element. In other words, we are working with the state or intention that gives rise to a motion, and this motion circuits back to the intention and causes it to achieve. Then, we work with how a motion affects the body; for instance, we raise our hand to the air, leaving the hand and vitals vulnerable and the body unable to reach a defensive tool or defend itself with the arm. This is an action of surrender. In this case, we are surrendering to the divine ecstasies of the air element and surrendering our knowledge to God’s omniscience, all the while greeting the sylphs with divine humbleness (humbleness that still originates from infinite authority).  

    8 – Mercury: Now, we throw our fingers forward with the little finger slightly extended over the others so the stretch is on it. This is the finger attributed to the air element. If the A mudra has properly charged the body and chest, the whole elemental fluid of the air should have been moved to the hand and fingers and, in the gesture, directly projected onto the smoke of the incense and the room. This is the process of infusion and magical action itself, where our gesture changes the internal glory of external objects, be it a room, another person, or a tool.   

    9 – Moon: Here is where the gesture changes hierarchy and polarity chains by switching power from consciousness to consciousness and dynamically moving it. It is where the ebb and flow of life itself comes in. This is the place where gestures influence social status, contracts and obligations. But also where actual evocation and invocation can take place, because it is from here all interactions between the conscious and the subconscious spring forward and also where consciousness can be effectively transferred. The whole key is “who is doing this gesture and who is receiving it? And what does it mean to do it and what does it mean to receive it”? When a king makes a knight his gesture means he is giving his authority over life and death to the knight. The same gesture, to the knight, means he has been made a tool of the king and a guardian of his kingdom. Yet the sign given binds both through a single power. But let us say our hand now moves upon the mala while repeating auto-suggestion sentences. Who is doing this gesture to whom? As we understand this question, we can decide to remain in the minus pole, being more or less mindlessly influenced by divinity to a certain direction, or remain in full presence in the plus pole, where we partake of the divine will influencing our automatic nature and mastering it. But, for the sake of our narrative, our hand actually moves to draw the sigil of the sylph Capisi. When we ask who is doing this gesture and who is receiving it, it becomes clear we are not throwing this gesture to the air, but touching Capisi, and as we realize this, another realization erupts: Capisi is drawing her seal for us, and giving us her sign. It is an agreement. All contact starts with an agreement. 

    10 – Earthzone Belt: Here are the gestures connected to space and place. Let us say we raise our right hand (we have dealt with this gesture before when raising the hand to the sylphs) and swear with our left hand (connected to the heart) upon the bible. This gesture has a specific set (the nature of a set having been given in point “6 – Sun”), the court of law. When we do this gesture outside the court of law it still bears symbolically the seriousness and authority of the court. In the past of Europe, exchanging wedding rings had a specific set as well, a church. By exchanging rings in the church and kissing, a marriage was sealed by divine power itself, for whom the church was a sign. Even in the absence of a church, the gesture, by means of absorption, may carry the same kind of power anywhere. Or, simply put, even if we are not standing in the center of a painted or inscribed circle, when we draw a circle mentally, astrally, and physically with our fingers, the gesture of its own becomes the place that we call a magical circle. While this gesture originates from a specific set it can take the place of this very set and replace it entirely and effectively.    

    11 – Pluto: Here lies a mysterious stage and species of the magical gesture. While 10 reproduces set and space, 11 reproduces time or/and evolution. These are signs related to certain grades of initiation, for instance, that recall and conjure certain stages of maturity, and some signs can be given by beings of Pluto well beyond our time. However, it is sufficient for us to give the famous sign of the cross as an example. It is drawn with three fingers, to carry the trinity, and in this it is both symbolic (mental) and iconic (astral), for 3 fingers resemble the holy trinity in quantity. Our focus, however, is that the sign draws a cross (iconic) and in this connects with the specific moment when Jesus Christ was crucified and humankind redeemed. The very sign of the cross, then, efficiently performed, causes this living moment to re-occur and should truly redeem the ritualist. 

    A Guide to Sphere Quabbalah

    This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

    Learn more
    A Guide to Sphere Quabbalah by Andre COnsciencia