Magick in Musick
Towards A Simulacrum of Manifestation
0. Mystical sounds, silence, sacred syllables, and sonic cosmogony
Many spiritual belief systems claim that the multiverse was created through sound.
Several millennia ago, Kabbalist Rabbi Shimon Bar Yochai, author of the sacred Zohar, the major book of Kabbalah, said the literal understanding of the Ten Commandments is a fraud. He explained that there are no such things as “commandments” in the Torah. The word is “utterance” and the Zohar said it refers to ten utterances and sounds that brought our physical multiverse into existence.
“The Universe was manifested out of Divine Sound; from it came into being the Light.” — Shamas I Tabriz
In the Sufi tradition, the unknown is referred to as “Hu” which is both a sound and a holy name of God. The sound “Hu” is the most basic vibration in the multiverse. It is the smallest sound or the smallest vibration, that is produced whenever an object moves in the multiverse.
Since nothing in creation is in a perfect state of rest (i.e. electrons constantly moving around their nucleus), it is safe to assume that there is no place in creation where “Hu” is not produced. Therefore, the real meaning of silence, which is the perfect absence of sound, does not exist in Nature.
In our meditations, when we seek to immerse ourselves in silence, we are not trying to shut out our ability to hear sounds. On the contrary, we are trying to increase our ability to hear a very specific sound: the vibrating sound of the multiverse, which is the sound of our aetheric inner processes.
That sound is the eternal vibration of “Huuuuuu” and its significance pertains to the multifaceted arrangement of sacred vowels that derive from the earliest alphabets. The phonetic entity known as “Hu” is sometimes set to music.
In ancient Egypt, “Hu” was the deification of the first word, the word of creation, that Atum was said to have exclaimed upon ejaculating the godforms of the classical Ennead to life.
Within the cosmogenic myth of his masturbatory act, we find the jigsaw pieces of Egypt’s most pre-historic dynasties awaken in full view of archeologists, historians, and Egyptologists alike.
In one modern religion called Eckanar, they also use the “Hu” recitation believing it is a ‘love song to God’ in which they are able to more clearly perceive how microcosm and macrocosm intermingle.
In the Old Testament, God spoke everything in the multiverse into existence as illustrated in Genesis chapter 1 verses 3–29 (where most lines of text begin with the phrase “God said…”) which points to the idea that Elohim’s decree was the means of creation. This theme is proved further in the New Testament book of John chapter 1 verse 1 which states “In the beginning was the Word, and the Word was with God, and the Word was God” where it is even more evident that a sound or utterance is responsible for all of creation.
Metatron is the angel that Enoch became upon his enthronement to heaven. He is said to have been the elusive Angel of the Lord who spoke countless proclamations, promises, and punishments to human beings.
“The nature of creation is the doubling of one. It is this doubling aspect that is the cause of all duality in life: one is positive, the other negative; one expressive, the other responsive. The first aspect is sound, and the next is light. In nature, which is face-to-face with spirit, what is first expressed is light, or what one responds to first is light; and what one responds to next, what touches one deeper, is sound.” — Hazrat Inayat Khan
Mantras are “words of power” which may actually be older than language itself. They are “melodic phrases with spiritual interpretations such as a human longing for truth, reality, light, immortality, peace, love, knowledge, and action” some of which do not even have a literal meaning even though they are still musically inspiring and possess metaphysical significance.
The word “mantra” is Sanskrit and should be translated to mean “instrument (or vehicle) of thought.” It may further be translated as “thoughts that liberate from samsara” for those a little more familiar with Westernized Hindu jargon.
Mantras (in a non-regional, archetypal sense) are not specific to any particular religious sect as they have cropped up, in one form or another, throughout several traditions in humankind’s rich religious musical history including Hinduism, Buddhism, Jainism, and Sikhism.
Mantras are listened to or recited for many different purposes: as a means of achieving different states of consciousness, to create resonance with specific attributes of divine energy, and to manifest different qualities, from resonating the chakras to embodying compassion.
An example of an all too traditional type of mantra can quickly be found on the Z(enseider)Z soundcloud. (For those not aware, Z(enseider)Z is a multi-continental conclave of hedge mages, starving artists, and fringe memeticists who self-produce experimental media. Please visit zenseiderz.org for more kNewz, merch, iNfo, ma’ath, and musick)
Within the practice of Hindu tantric magic, there are many different types of Sanskrit mantras reserved for various purposes. These include Shanti (peacefulness/healing), Istambhan (paralysis), Mohan (attracting), Uchchatan (disturbing), Vashikaran (enslaving), Akarshan (attracting from a distance), Jrambhan (influencing others’ behavior), Vidweshan (creating discord), Maran (to kill), and Pushti (obtaining wealth). These are mostly secret chants that are taught only to initiates who are studying under a guru.
Among pre-Christian Germanic speaking people (Scandinavian, English, German, Dutch, etc.) there existed the practice of Runic spell casting. Runes are an alphabet consisting of sacred seed sounds that were later represented by written symbols. The Runic equivalent in Vedic/Hindu religion are the ‘Aksharas’ or syllables of the Sanskrit alphabet. Each syllable is a power sound.
The construction of words and phrases with these magickal syllables acts like a mathematical formula that produces an effect on the phenomenal world.
These Runic and Sanskrit alphabetic symbols were eventually used solely for written communication. But originally, these symbols were used primarily for magickal purposes. That is why we still use the word “spell” to indicate the construction of spoken words through symbols.
Just about every major religion has its own form of devotional music inherent to it such as Christian hymns, Hindu Bhajans, Sikh Shabad, Jewish Hazan, Sufi Qawwali, Rastafarian Nyabingi, Shinto Kagura, Zen Buddhist Honkyoku, and Zoroastrian Parsi music. This is to speak nothing of the importance of indigenous and diasporic religions throughout the world.
The cacophony of whirling dervishes, the Lakota healing song, the Maori war chant, Vaishnavite and Sikh Kirtans, and old Norse Galdr —all of these play a role in the development of a magical foundation for aural experience beginning at the most primal level: where the hand meets the drum. The same heartbeat we hear in the womb is mirrored in the outside world in the form of Nature serenading us with a semi-syncopated soliloquy.
These days, people are toying around with the ideas of synchromysticism in its aims to shuffle cultural milieu, the techniques of cymatics in achieving sacred geometry through sound, and the philosophies of phonochronomancy in our studies regarding the nature of sound and its effect on the psyche.
The following seven-part article will deal almost exclusively with different types of sigil magick, in a practical rather than theoretical sense. In later articles, we will detail our experiences with other forms of audio enchantment, as well as other operations of magick (divination, evocation, invocation, and illumination.)
There is much ground to cover and the only reason we have not delved into the latter four operations of magick is due to our inexperience in these realms as far as the use of musick is concerned. We find it premature to elucidate on workings that are still in their developmental stage or are currently underway.
This is no introductory article. It possesses an inordinate amount of density.
We assume you are already somewhat familiar with occult practice and in this assumption, we have endeavored not to sugar-coat any of the material herein.
If you are new to magick, specifically chaos magick, check out Chaos Matrix, start with the section called “What is Chaos Magick?” and you should be well on your way toward a greater understanding of this essay and ultimately yourself.
If you’re interested in the relationship between consciousness and sound, see this introductory article.
I. Oratory sigils, gnostic states, and models of magic
Now, let’s talk about turning a statement of intent into an oratory sigil or mantra.
Start with a new SoI (statement of intent) and go through the Sparian process step by step. We realize this sigilization approach is rudimentary, but it is also a necessary fundamental in order to arrive at our conclusions.
We’ll use a SoI that appears as though it is recurring in time. This type of wording proves that how one specifically spells out their intent will determine how their sigil manifests. In this SoI we have opted for a more V-prime, future-tensed, “handlin’ yo business” type of declarative; for not only the present but for upcoming dilemmas as well, which is inclusive of the retroactive past.
We’re reassuring ourselves that we have, are, and will be tending to a situation.
“IT REMAINS MY WILL TO [STAY AHEAD OF MY BILLS]”
The important part is STAY AHEAD OF MY BILLS one could use just that phrase on its own, but for the purposes of this presentation, we are using the whole string of words, so that we retrieve enough letters to make a decent-sized oratory sigil. We proceed to remove repeated letters (but we’re not removing the vowels in this method, so that we may more fluently conjugate the oratory sigil in an English-esque formula) in the phrase and it ends up as:
IT REMA*NS *Y W*L* *O **** *H**D *F ** B***
Thus, we arrive at the letters I T E M A S L Y O (R N H D F B). Those in parenthesis represent non-repeated letters while those outside the parenthesis represent repeated letters. We take all 15 of the letters and form an oratory sigil out of them. Try something along the lines of:
SLYM RIND THO FABE or LYOF MASOB RHINDT
In Ouranian Barbaric, the above SoI could be streamlined as: “XIQUAL CIUXIQ! WOBIHAG HUCOYE” which translates to “Manifest Wealth! Overcome Poverty.”
The would-be magickian takes one of these oratory sigils, repeats them over and over until they’ve lost all meaning, and have effectively swept past the discursive intellect in holistic sleight of mind fashion. Then we throw out all our written work and commit the sigil to memory.
To reiterate, the would-be magickian repeats their oratory sigil (“mantra") until she reaches one of two states:
inhibitory gnosis (katalepsis) from quieting the mind with meditative stillness by slowing down the intervals hir neurons are firing at in the cerebral cortex
excitatory gnosis (eckstasis) through the building up of hir overzealous enthusiasm by exceeding hir anaerobic threshold
The former mode of gnosis (inhibitory) is achieved by bringing the mind-body to a state of quiescence using the sympathetic nervous system (rest and digest) and increasing the activity of the neurotransmitter gamma-aminobutyric acid to produce an awakened state of sedation.
The latter form of gnosis (excitatory) is brought about by stimulating the mind-body to the point of cathartic release using the parasympathetic nervous system (fight or flight) and increasing the flow of adrenaline to produce an alert, near-acute state of awareness.
Both States are recommended for the would-be magickian to test-drive, as she does not know what mode of gnosis will work best with hir sigil.
A list of methods for attaining both forms of physiological gnosis.
Then, as far as gnostic states go, we are left with two alternatives to the inhibitory and excitatory states of gnosis:
Indifferent vacuity “indifferent vacuity [which] was described by Phil Hine and Jan Fries as a third method. Here the intended spell is cast parenthetically, so it does not raise much thought to suppress.”
This method of attaining gnosis can almost be likened to that of A. O. Spare’s neither-neither technique from the Book of Pleasure which takes two opposing concepts and seeks to mutually annihilate them in intellectual oblivion.
In Prime Chaos, Hine describes it as “a state of no-mind, or Non-Disinterest, where the object of desire flickers briefly in a mind emptied of all content [with] no emotional attachment to the desire”
In Visual Magick, Fries mentions the state of vacuity in passing as an “inner absence, in-between worlds.”
Chemognosis (nacrolepsis), which many would consider the easiest route, is actually the most difficult to attain with any amount of productivity. Nevertheless, it is a potent form of energy transfer that should be explored if and when the would-be magickian has the wherewithal and resources to attempt charging their sigils in this manner.
Let us be clear, we do not explicitly condone the use of illegal drugs in conjunction with magickal practice; however, what the would-be magickian finds useful should not be discounted.
Truth be told, chemognosis isn’t categorically different in any event, because one is still using either inhibitory gnostic states (with sedatives, hypnotics, and anxiolytics up to and including depressants, cannabinoids, and dissociatives)
or excitatory gnostic states (with amphetamines and hallucinogens up to and including stimulants, empathogens, and psychedelics).
With regards to opioid-derivatives it could be said that both natural and synthetic opioids are somewhat in a class all their own. They can be used to prolong sex towards excitatory gnosis, but at the same time prolonged sex for the average human male typically means exhaustion at the point of orgasm.
And, we’ve all seen the effects of too many opioids on a person who enters the land of nod. That can hardly be considered excitatory by any definition.
As one continues chanting the mantra until an altered state of consciousness is reached, the would-be magickian should eventually feel as though they have successfully launched their sigil. The exact method of how a sigil is launched depends on what model of reality one is working with.
One’s SoI could be interpreted as being propelled:
into the depths of the subconscious mind (psychological)
out into some liminal aether (energy)
in a manner which resolves with some greater organic entity (spirit)
in a manner which links up with morphogenic fields (information)
by some weirding combination of the preceding ideals (meta)
These models are presented to us by Frater U.’.D.’. and should be given some thought before engaging in sigilcraft. Where is your source of energy coming from and where does your sigil apprehend its power? One can find an extended explanation of these five models in Frater U.’. D.’.’s own words.
More information concerning vocalization as a method of magickal enchantment can be found within the instructions for the Gnostic Pentagram Ritual (Liber Kaos pg. 181), Phil Hine’s essay The Magical Use of Voice, and Jan Fries’ technique for the Vowel Song (Helrunar pg. 135) which he converted from the Fraternitas Saturni’s Gregor A. Gregorius’ text Die magische Erweckung der Chakra im Atherkorper des Menschen.
Written instructions on the GPR and an audio demonstration of the GPR with guidance on how the vowels are supposed to sound when intoned correctly.
II. Using glossolalia to discover words of power
Creating words of power from the well of the deep mind that evoke a specific state of consciousness.
All that is required is the achievement of a particular state of mind they wish to accomplish on command and a trigger word or phrase discovered through glossolalia, which will be used to access the desired state of mind again. In a similar manner, the Pentecostal Christians use the technique of speaking in tongues during their services where they sometimes channel languages that are entirely foreign to them. These Christians are using glossolalia to access their higher intuitive brain functioning. However, in our case, the would-be magickian decides upon a state of mind that they wish to achieve, then she will enter into gnosis through whatever means are applicable.
Once the state of gnosis has some flex and momentum, the would-be magickian proceeds to more ferociously use glossolalia; essentially letting syllables, words, and seemingly nonsensical lexical items fly out of their mouth freely and without the restraints of lingual integrity. As the state of gnosis subsides, one inevitably catches themselves repeating certain words or phrases over and over again. Once the word or phrase is found out of the disarray of glossolalia, the would-be magickian will dispel their own existence and proceed to comfortably and dexterously conjure up the desired state of mind (such as confidence, mathematical intelligence, strength, empathy, sexual virility, or fortune) while she continues imprinting its essential nature upon their word(s) of power.
Magic works in practice, but not in theory. Basically, this is reversing the process of discovery.
Whereas in the previous exercise, we uncovered the word(s) of power by way of altered states of consciousness, in this instance, we will attempt to engage in an altered state of consciousness by way of the imbued word(s) of power.
This may be the most difficult portion of the operation: appending a state of mind to a word of power through non-attachment/non-disinterest. It may sometimes help to procure a pneumonic trigger in order to activate the desired state of mind, such as wearing a particular color outfit, or adorning a specific type of jewelry, or eating an unusual food that morning, or even practicing your word(s) of power in front of a mirror gazing intensely into your own eyes. These seemingly innocuous tricks can have a profound effect on the psyche of the would-be magickian.
In case of potential psi-hazard inducing glossolalia, the would-be magickian may want to start out using preexisting words or phrases from the lexicon of Ouranian Barbaric such as:
PAQUSOJAHICHANUG (compassion),
CHUKWADGOCOFR (control),
EEONMEKH (delight),
LICHRAH (ecstasy),
BORVEMACS (self-love),
WOBIHAG FUN (overcome fear),
BHUCOOF ZATECH (feel happiness),
EXLIUD WABTEH (decrease paranoia),
ZAROWXICH FUCH MLTANCA (liberate universal consciousness),
ERIXOTH (laugh),
REPIX (joy),
INGBEZOTH (forget),
CHABOHEJ (gaining power),
HIBUCHEGIVOWCHOBEW DAH’ZOO (influence genius),
AHIKAYOWFA (higher awareness),
CHUKWADGOCOFR BROZLICK (manipulate intelligence),
JEFOLIJ DINTHOQAF (dream power),
FECHSAEF AP (casual change)
Option 1 (simple enunciation of received mantras)
Open by whatever means one desires. Rest oneself in a position or posture relevant to the intent. Begin the repetition of your word(s) of power either silently, whispered, aloud, or in some combination thereof. Continue repetitions until gnosis is attained, the word(s) of power is (are) lost to the deep mind, or the syllable is charged with low-attention processing. The idea is one of being able to produce a particular state of consciousness at will using hir word(s) of power. The state of consciousness may be anything from increased sexual longevity to enhanced sensory perception.
The state of consciousness should be equivocal to the word(s) of power, in that, the particular state of gnosis derived from it has some affinity toward the word(s) of power. Which is to say, using the correct aura corresponding to the desired state of consciousness is crucial to the cultivation of a specific word of power. (i.e. use the red aura for increased strength or physical prowess, the purple aura for sexual potency, the green aura for empathy and compassion, the orange aura for math or musical skill, etc.)
Option 2 (must be at a location where loud sounds are permitted)
One enters a state of utter repose, gazing at a graphic sigil containing one’s statement of intent while attempting to freescry with it. Once the body has reached a simmering state of consciousness, allow it to aim toward a bubbling intensity. After some time, when one cannot hold the silence any longer, they should yell their word(s) of power as loud as possible with vehement conviction. Thus, charging it with the gnosis attained through primal scream exertion. The would-be magickian now has a bona-fide original word or phrase of power which can function as an anchor for the desired state of consciousness that is to be activated at the would-be magickians will in any context.
A more traditional approach to enunciating syllables using the throat method.
One way of expressing harsh glossolalia can be found during the first minute or so of a Gen-Z track entitled “Our Corpses Come Back To Life.” (Gen-Z is a collaborative effort between the gnosis goddess of art and creativity herself, Capeditiea, and the undisputed apotheosis of all genuine assholes, Eian Orange.)
III. Audio sigils, meditative work, and ritual ambiance
When one creates a simple two or three-stage audio sigil, it tends not to have a very profound effect on the psyche of its listeners. The sigil may get charged in the usual fashion, but the track which the would-be magickian has created usually has no discernible effect on the mentality of those who put it on repeat to charge it accordingly. We have many and varying methods for achieving such menial aims.
One such technique may be rendered as follows:
We record our vocals (track A) while working ourselves up into a gnostic state spitting harsh glossolalia. We take that recording and re-shape it, drop it down an octave or Paulstretch it if you use Audacity, and eventually lay fx on top of it. The works. Use any available plug-ins that may disrupt the track. We then record a specific SoI (track B) and re-shape it, possibly reverse certain parts of it, maybe even shift the pitch (not quite to full-blown retard levels, but up or down a fifth or a third), and then whammy bar the whole file to make the waveform totally unrecognizable. We then make another track (track C) with some very minimal dark ambient sounds and eventually mix all three tracks in a multi-tracker or simply paste them all together into one file.
No real musical skill is required. Just knowledge of the audio warez you’re working with and even a built-in mic will suffice. Once you have the recorded mix on hand, you play it on repeat for several hours [!?!?!?] or until the meaning has completely changed its nuance. In other words, until you have come to a crossroads with the mix where you either cannot ‘tune in’ to it any longer or it has been rendered effective (enchanted) and now simply wastes your time. Once you’ve sufficiently ‘launched’ the auricular sigil, never listen to it again, and send all co-work and copies to the trash.
An example of this type of layered auricular sigilization. Keep in mind that this track went through a rigorous process of sampling, recording, and sequencing.
One very quick and easy guitar technique that can be used in cursing your enemies is that of playing in drop D and strumming four times in order to spell out “DEAD.” Play the open D, then hold down the second fret to emulate E minor, then A minor, then open D again. This hex should be played toward some magical link of your enemy. We do caution that death curses sometimes have unexpected results, sometimes binding the magickian to his intended victim if care is not taken to avoid this situation.
Other more expansive techniques have been found to be effective in altering the listener’s mental faculties using isochronic tones, binaural recording, frequency modulation, and, in other cases, a spectral analyzer which we have fed a variety of images (sigils, photos, drawings, etc.), all in the hopes that we might induce differing key brain entrainment conditions. In many of our soundscapes, we aimed to produce theta and gamma wave states which are most commonly associated with gnosis. Although our strategies changed up from one enterprise to the next, we stuck by our core principle: to noticeably alter consciousness without boring the audience to death.
One will have to experiment for themselves in meditative and ritual settings with the albums Zero Point Gravitation and Ontogeny Recapitulates Psychogeometry both of which are available for free download or streaming. More information on each of the albums can be found on their respective pages. These are small-scale projects that we consider as hypersigils due to their range and scope.
An article about the use of cycles per second in sigilization.
IV. Chromatic pitch circle using the Gematria of Nothing
Create instant sigils, audio sigils, and serialized music. The following represents a conversation in a secret FB group about various tech we’ve concocted in our many years in the business.
Luke said: “Some of my more advanced work in music theory involves combining 20th-century atonal set theory, numerology, and cryptography as a pre-composition tool for generating material. I took the chromatic scale and put it around a clock face or dodecagon (nothing new) then, since I’m used to using 0–11 for the musical pitches C-B, I just ran the pitches alongside the alphabet using N = 0 = C (C, the musical pitch, not the letter) and there we have it. I’ve also assigned colors, planets, and astrology to this basic layout. Copy this key, take some tracing paper, and make some sweet sigils!! Similar to the Rosy Cross method if you are familiar with that.”
To understand Luke’s structure it takes a basic knowledge of the chromatic scale and an apprehension of the cipher for the GoN 1 system, which is clearly obvious in his image once you know what you’re looking at.
Luke said: “So, then, it’s just a matter of finding or making a way to assign the 26 letters to 12 notes, it’s weird, but can be done as you see. Some notes may have 3 letters assigned, but all you need is an assignment profile that you like. The specific GoN arrangement depicted is one of many for me, but it works very well.”
Atrahasis said: “OK I’ma throw a formula in here that 001 taught me, it uses the A-E-I-O-U from the GPR. Break your SoI down, preferably into a multiple of five letters, removing all vowels, as well as repeating consonants. Arrange them as you see fit then add a vowel after each. this gives us a mantra that can be vibrated at the five bodily nexuses of energy used in the GPR. Using the chromatic pitch circle we could then create a note for each syllable in our mantra, in addition to creating a sigil, and deriving the GoN value.”
Luke said: “If you pick up a copy of “The Middle Pillar” by Regardie, in the back is a chapter called “Musical Qabalah” it has the traditional method of which you speak. It details how to allocate the correct note for the Hebrew with which to sing each note while doing the LBRP”
Israel_Regardie_-_The_Middle_Pillar.pdf
Eian said: “..don’t forget the work of Arthur M. Young with his Geometry of Meaning (which is where I think Infek & co. got the idea for naming the GoN) as it incorporates the twelve zodiac signs into a circular pattern of correspondences around its axis. Its scheme fits well with Luke’s work here. As a reference point, anyhow.”
Luke said: “I’ll be incorporating this at some point”
V. Advanced sigil creation, reverse divination, and useful URLs
There seem to be two basic schools of thought when it comes to crafting SoI. On the one hand, we have those who believe one’s sigil should be as simple as possible and then there are those who believe one’s SOI should be as specific as possible. Sounds boring, but it’s the staple of exceptional sigil practice. We tend to follow this line of thinking in our ritual workings for the simple fact that we do not want to work ourselves up into a state of deep gnosis and have it backfire simply because the sigil was too complex to visualize or our SoI was too vague to bring about transformative change. We should not go about asking the multiverse for pennies from heaven or illumination from lightning bolts.
Then, there is another base of experience that determines that a certain degree of visual and lingual intricacy should be involved in the construction of an effective sigil. We also adhere to this train of thought as it can often make for highly personalized, rarely penetrated, sigils of an atypical nature, which only master sigilizers are able to express in their process of manufacturing.
Neither operation is more valid than the other, as none of these techniques have gone through peer-reviewed double-blind testing. The controls are just too difficult to put in place. We’re not sure any form of magick has stood up to the light of such harsh scrutiny. Magick isn’t about providing proof to skeptics because if it were, we’d all be like Alan Moore attempting to make lemons explode with our minds and embarrassing ourselves in the process.
To quote editor John Bowker of the Oxford Dictionary of World Regions: “magic offers the transformation of circumstances without guaranteeing effects: one consequence or its opposite will still be a demonstration that magic ‘works’, because it confirms the entire context in which a person lives.”
Z(enseider)Z has concocted a program that depersonalizes desire, while leaving open the specificity of the Tarot keys and the Tree of Life sephiroth and paths to construct sigils in what we call a ‘reverse divination’ method. It is almost an exact replica of the Rosy Cross method. It only makes sense once you’ve begun to absorb the article. For those with an adventurous spirit behind their mystical edge for complexity give this a try: Reverse Divination.
And, for even more advanced users who utilize kameas, etc.:
Chaos Tarot sigil generator, K. Schwarz’s magic square generator, and a perfect magic square generator
For a truly unique experience visit http://caostar.com/sigilizer/
sigilize it! > can we offer a meditation to charge it? > [read the protocol] > start (audio required)
VI. Gematriac formula, anomalous recursion, and pareidolia in enumerations
As concerns the sigils of the Numerical Egregore in the Gematria of Nothing (or “GoN”) it took Z(enseider)Z GoN research teams countless hours of enchantment upon specific alphanumeric sequences, divination with the sacred records housed in our public database, and a flurry of dangerous evocations of the Digital Qlippoth to arrive at the sigilia which now stand as Qabalistic faculties of the schemes set forth, in numerological integrity, by the Kabaal of M.A.A.T. who first created the cipher in 1995 following a Satanic sex magic ritual and bibliomantic reading of Liber AL vel Legis.
In simplest terms, the Numerical Egregore may represent nothing more than the root numbers that belong to a given numeric entity. For example, the numbers 11, 20, 29, 38, 47, 56, 65, 74, 83, 92, 101, et al., as well as their negative counterparts, are rooted in the Numerical Egregore of 2. Numbers that, when added together, continuously equate to 2 in a patterned sequence. Each of the Numerical Egregore (0–9) has a specific sigil attached to them and each of the factors of the Egregore has specific servitors attributed to them which stand for all the numbers that the Egregore represents. We have yet to create 2-D representational servitors for 11, 20, 29, 38, 47, 56, etc., but the time will come when they will be awakened from their slumber in the psyber realms which contain their electronic larvae.
Numerical Egregore is a term coined by the late Infek bin Laden and although we cannot know exactly what he meant by this (as he left no complete written record of such jargon and offered us only fragments of ideas regarding their existence) we will take it upon ourselves as his theomatic beneficiaries via the GoN to describe what it means to us and how it has influenced our work in this field of study. Our expertise is subject to debate among many 21st-century Qabalists, so we are taking this opportunity to share our insights on GoN-onomics.
In more complex terms, the title ‘Numerical Egregore’ conjures up ruminations of a group thoughtform derivative of a mathematical (or at least numerological) nature; however this is not necessarily the case in all instances. The Numerical Egregore has less to do with the interplay between a particular originator and a given number and more to do with the symbiotic relationship extant among all numbers and the reality tunnel of a given Qabalist receiving and transmitting logarithmic data streams from the GoN’s low Bell curve. This is to say, the Numerical Egregore represents a collective archetypal convergence of quasi-semiotic qabalistic conditioning within naturally occurring geometric phenomenon.
One can find musical demonstrations of the Numerical Egregore and the Digital Qlippoth at the bandcamps of two of the triple W’s most renowned GoN enthusiasts: Blue Luke’s The Numerical Egregores and Z(enseider)Z’s Various Digital Qlippoth
More on the symmetry of the Numerical Egregore at Exponential Branches.
Notice that the glyph for Zero is not symmetrical. It is because it is not within the realm of similitude, that it precedes this condition. Numbers 1–9 have a brand of symmetry all their own, but 0 stands alone as an individual sigil with which there is no equal.
Most of the letter-number correspondences within the GoN cipher resolve back to zero when one spells out the numbers phonetically. For example, N = 0 = -8 = 50 = 4 = -4 = 25 = -9 = 43 = 0 because zero = -8, negative eight = 50, fifty = 4, four = -4, negative four = 25, twenty five = -9, negative nine = 43, and forty three = 0. This is how most number-letter correspondences within the cipher (A = 13 through Z = -12) tend to work themselves out. We consider it a form of phonetic recursion.
Although, there are four letter-number correspondences within the GoN cipher which do not resolve back to zero. They are A = 13 = 13, P = -2 = 13, T = -6 = 19 = 26 = -33 = 27 = -18 = 68 = -6, and Z = -12 = 26 = -33 = 27 = -18 = 68 = -6. In this case, we have two letter numbers which resolve back to 13, and two which resolve back to -6. We find this deeply interesting even though we are not yet sure of its full implications. In some ways, this discovery is not unlike the GoN’s first deliberate (not contrived), naturally occurring tetragrammaton, APTZ. We have devised all manner of notiqarion for these four letters using our brand as the “Z” portion of the equation. All of these acronyms belong to the Numerical Egregore of 7, which is also what 13 plus -6 equals.
For example:
Z(enseider)Z Psionic Terrorist Aggregate = 61
61 = Immanentize The Eschaton = concrescence = the mark of the beast
61 = prophets of the qabala = tetrahydrocannabinol = breath of life
61 = on the low men trample in the fierce lust of your pride (AL II:24)
Z(enseider)Z Temporary Autonomous Planes = 7
7 = consciousness = subconsciousness
7 = con-artist = eye = freestyler = LSD
7 = Are not they the Ox (AL I:48)
Z(enseider)Z Astral Travel Preconsciousness = 43
43 = Akasha = hallucination = brainwashing = deluded
43 = Albert Einstein = E equals MC squared
43 = but the highest are of us (AL II:19)
[GoN]
Magickal applications of gematria/numerology should be rather obvious to the seasoned psychonaut as math and music go hand in hand. The two comprise a web of logic that supersede most conventional forms of understanding. That is, there seems to be a relationship inherent to all numeric processes (music most certainly included) that aim toward what is eye (or ear) pleasing. We most often do not wish to bring the hammer of non-Euclidean rationales down to their ultimate conclusion.
VII. Capeditiean method for audiosigils
First off, intent is requisite in the composition of an audiosigil, or any sigil for that matter. Often folks use gematria and such, instead, we use a profound illustration, meaning that, certain aspects are related to the magickian in a psychological manner. The intent can be delivered through various forms of energy output (emotion, noize, loudness, silence, etc.) Each of these forms reflects how others would see it. However, not everyone will call what we produce “music,” so we use the term “musick” (with a K, if you happen to be reading this out loud.) With “musick,” it can sound how the intent is meant to be.
This method has yet to be explained with an example, so we shall use one of our favorite albums full of audiosigils. Which is Liber CCCII our 22nd official album. We shall start with the last song: “My Immortality Begins.” What is really going on, magickally, is found in the presence and execution of Ghost Notes, or notes not heard by the naked ear.
Although Ghost Notes have varied meaning, the most rehashed definition is that of writing a score where there is potential confusion stating which time signature you are in. (which is usually 4/4 for most popular and electronic music. Not all compositions are as simple as 4/4, 3/4, 2/2 or 2/4, there are also 5/8, 9/8, 5/4, 3/8, 6/8, and 12/8 where Ghost Notes are highly efficient, although often do not show in scores.) They are usually marked with an X instead of the filled-in circle, circle, or darkened circle more commonly known as quarter notes, half notes, and full notes.
There are the “do not play” notes, the “we are not noticeable” notes, and the “check out how these two instruments decide to make a new sound by combining their notes into an interesting dissonance” notes. The preceding three forms of Ghost Notes can be implemented into your audiosigil.
Now, with “My Immortality Begins,” the time signature is 4/4, we can also reveal there are a few passages with unlikely-to-hear notes because they are very low in timber. (which shows in the chorus in a determined, empirically sad manner.) We really cannot remember what we used for the intent (originally the song was called Chapter 13), so we just called it “My Immortality Begins,” to mark the beauty of all we’ve worked for up to this point.
We used the latter two forms of Ghost Notes to process the audiosigil.
The main difference between Ghost Notes and something like binaural beats or isochronic tones is that binaural beats and isochronic tones are played using ambient frequencies where no matter how hard you try you cannot hear the specific frequencies struck. (which we have limited knowledge of.) Ghost Notes, on the other hand, are a matter of counterpoint.
For example, a Trio for Violin, Viola, and Double Bass has the Violin voicing the phrase, usually in a lyrical sense, while the Viola slightly shifts the melody with contradistinction. Since the timber of the Double Bass is drowned out, this is the instrument used to bring about the Ghost Notes.
For this example, we shall summon a short score.
This can be used as a theme or even a repetitive rondo; even if it is just those three instruments, one can add additional instruments to obscure the Ghost Notes even further.
special thanks to: Luke Andrews, Capeditiea, and Atrahasis Z for their content and input.