The actual Devil. In a limo with Jenna Steele, a bag of Mexican weed, and six bullets in him. He was an American, too. The fans and blogs were right about that. He had been an American for a very long time.
Michael Poore, Up Jumps the Devil
An irregular hodgepodge of links gathered together … Omnium Gatherum for July 25th, 2014
The Mark of the Devil by William Mortensen at The Grotesque Eroticism of William Mortensen’s Lost Photography — Larry Lytle, VICE
Here are some top gatherum posts from the BBS this week:
“When one contemplates the marvel of sculptured sound on a graphophonic record, and realizes that from the cold vorticity of line there may magically spring the golden lilt of the greatest song voice that the world has ever heard, then comes the conviction that we are living in the days of white magic.”
“In 1945, workers at Brown University’s biology department were clearing out storage space when they stumbled on a giant trove of natural and ethnographic specimens and artifacts. The collection had belonged to the Jenks Museum of Natural History and Anthropology, founded at the school in 1871 and dismantled in 1915 to make way for new classrooms. Inexplicably, the workers drove 92 truckloads worth of the carefully curated objects to the banks of the Seekonk River, where they unloaded them into a common dump.
Now, the collection has been resurrected from that mire by “The Jenks Society for Lost Museums” — a group of students and professors from Brown University and the Rhode Island School of Design — with the help of artist Mark Dion. Like previous attempts to reimagine destroyed museums, their three collaborative installations, on view at Rhode Island Hall, recreates parts of the museum while challenging assumptions about permanence in museum work.”
“Don’t feel bad if you haven’t heard of him—he was written into a footnote by the “straight photography” school of the 1950s, and referred to as “the Antichrist” by Ansel Adams, a tag that stuck after Anton LaVey dedicated The Satanic Bible to him. Primarily known as a Hollywood portrait artist, he developed a myriad of pre-Photoshop special effects to craft grotesque, erotic, and mystical images. This fall, Feral House will release [American Grotesque: The Life and Art of William Mortensen], a monograph on his occult photography.”
“Contrary to the Cardinal’s statement, Vodou is not Haiti’s problem; Christianity is. No push to spread Vodou ever wiped out entire “savage” indigenous peoples. Vodou has caused no wars due to a desire to convert as many people as possible. Vodou doesn’t tell “saved souls” that they must be complacent, accepting their lot on Earth for the potential of future salvation in heaven. Vodou never told Black people they were a curse or 3/5ths of a person.
Vodou is of the belief system that sustained our ancestors across the Middle Passage, during the brutality of the plantation, and through the victories of slave rebellions. Haiti should never apologize for it.
Christianity and the West’s real problem with Vodou is that, like the Maroons who practiced it, it remains elusive to those who would aim to profit off of it, package it, and control it.”
“A treasure trove of Winfield history was recently discovered in the dilapidated two-story building at 1307 Main, just north of the Dawson Monument Company.
Realtors Jeff Albright and Jeff Everhart found a trunk upstairs full of records and memorabilia from the former black Masonic lodge here. They also found the lodge’s gavel.”
“In its heyday, the Winfield lodge hosted a gathering of individual chapters of the Prince Hall Grand Lodge of Kansas, the organization of black Masonic lodges in the state. The event took place Aug. 20-21, 1917. An estimated 200 Masons attended from around the state.”
“With roots going back to the medieval guilds of stonemasons, Freemasonry is the oldest initiatory society in the West not dependant on a religious institution. Having lodges in virtually every major city in most parts of the world, it has changed from an originally British institution to a worldwide phenomenon with a wide range of local idiosyncratic features and characteristics. Numbering millions of active members it is also the largest fraternal organization in the world, still managing to attract new members in the postmodern society of the twenty-first century. The continued presence and development of Freemasonry with its rich diversity in practices and interpretations, raises the question what it is that makes such an old phenomenon seem relevant to so many diverse people for over three hundred years? There is no single answer to the question, but part of it surely rests on the fact that despite its emphasis on tradition, transmission and authority, Freemasonry has always been a non-dogmatic organisation in the sense that its rituals, symbols and practices have not had official and final interpretations. On the contrary, Freemasonry is characterised by a striking diversity of interpretation—it is thus possible to find purely moral interpretations of its central symbols, but also scientific, psychological, esoteric, political, philosophical, religious etc. interpretations of the same symbols—a fact that will become more than apparent by reading the various chapters of this handbook.”
“He described a data set he was putting together that defined textual cross references found in the Bible. He had already done considerable work visualizing the data before contacting me. Together, we struggled to find an elegant solution to render the data, more than 63,000 cross references in total. As work progressed, it became clear that an interactive visualization would be needed to properly explore the data, where users could zoom in and prune down the information to manageable levels. Together, we struggled to find an elegant solution to render the data, more than 63,000 cross references in total. As work progressed, it became clear that an interactive visualization would be needed to properly explore the data, where users could zoom in and prune down the information to manageable levels. However, this was less interesting to us, as several Bible-exploration programs existed that offered similar functionality (and much more). Instead we set our sights on the other end of the spectrum – something more beautiful than functional. At the same time, we wanted something that honored and revealed the complexity of the data at every level – as one leans in, smaller details should become visible. This ultimately led us to the multi-colored arc diagram you see below.”
“Now, computer programmer Daniel G. Taylor has taken all that data and turned it into a visual masterpiece.
His website, BibViz (Bible Visualization), gives you the same linking arcs as before, but when you hover over one of them, it lights up and tells you in the upper right-hand corner of the screen which verses are being linked together. Click on an arc and it takes you directly to those verses as compiled in the Skeptics Annotated Bible:”
“This thesis compares and contrasts what could be considered two psycho-spiritual traditions: analytical psychology and the Western Esoteric Tradition. A common link between these two traditions is the use of symbols and metaphors of wholeness, specifically the sefirot of the Western Esoteric Tree of Life.”
“Unlike any other living thing on Earth, electric bacteria use energy in its purest form – naked electricity in the shape of electrons harvested from rocks and metals. We already knew about two types, Shewanella and Geobacter. Now, biologists are showing that they can entice many more out of rocks and marine mud by tempting them with a bit of electrical juice. Experiments growing bacteria on battery electrodes demonstrate that these novel, mind-boggling forms of life are essentially eating and excreting electricity.”
“Baleen and sperm whales act like ecosystem engineers in the global ocean, according to a new study from the University of Vermont. Whales help maintain the global ecological balance due, in part, to the release of vast quantities of feces.
A new study examined decades of research on the marine mammals and their role in maintaining the balance of life in oceans.”
“We both agree that science is at present limited by assumptions that restrict enquiry, and we agree that there are major unsolved problems about consciousness, cosmology and other areas of science… I am proposing testable hypotheses that could take us forward and open up new frontiers of scientific enquiry.”
“What astounds me is how ignorance has played into turning Aleister Crowley into a myth instead of a historical figure. Instead of being known as a educated man who was a freethinker that went against the norm he goes down as a Satanist […] This is due to how close-minded the masses are now and how they were then. That is why this bio-pic is so brilliant and powerful. It sheds light on one of the most misunderstood figures in history.”
“Disregard the angry clamour of the lying masses; avoid the uninitiated mob, and you will know happiness and the truth that is revealed to few.”
“It is not the goal of the library to make money. Nor is it the goal of the library to create levels of service so that those who can afford to indulge will receive more while those who can’t, don’t. Instead, libraries work to ensure their services reach as many facets of their community as possible. Libraries want to offer what they can to those who have nothing and those who maybe have everything.
The library is the center and the heart of community.”
If you’d like to participate in the Omnium Gatherum, head on over to the Gatherum discussions at the Hrmtc Underground BBS.
An irregular hodgepodge of links gathered together … Omnium Gatherum for July 11th, 2014
“Those who embrace nostalgia excel at maintaining personal relationships and choose healthy social ways of coping with their troubles. When they feel stressed, for example, they tap into previously successful strategies, such as turning to a trusted teacher or parent. If I overcame adversity before, they tell themselves, I can do it again.
When they feel a lack of self-confidence, they remember when they felt valued and loved for who they were and not for what they achieved or earned.
And when they feel uncertain about the future, they wipe the cobwebs off their Ouija board.”
“Crowley had little concern with Reuss’s treasured image of spiritual descendants of an imaginary body of medieval male Templars sharing secrets of a yogic sexual magic (transmitted from late antiquity) manifesting in the twentieth century as a new Gnostic Catholic Church. For Reuss the Oriental Templars’ great secret was that Jesus Christ and his ‘Beloved Disciple’ had been practicing adepts; Jesus’s semen being held to manifest magical, sacramental power: ‘He who eats my flesh and drinks my blood abides in me, and I in him’ (John 6:56). Reuss consolidated the doctrine that consecrated sexual fluids constituted effective agents of magical, spiritual transformation through contacts established in Paris with French Gnostic Catholic Church clergy Jean Bricaud, Gérard Encausse and other Martinists when Reuss issued Encausse and his associates (including René Guénon) with a patent to administer the Rites of Memphis and Misraïm in 1908; it is believed that in return Reuss received ‘authority’ as a legate or bishop of the Église Catholique Gnostique in Germany. Reuss’s belief that the OTO’s originators were Christian Gnostics did not sit altogether well with his rather general approval of The Book of the Law. Despite this potential disparity of outlook, all might have progressed quite nicely were it not for the inconvenient interruption of World War One.”
“After the war Reuss described the OTO as a body of New Gnostic Christians who rejected the anti-German, that is anti-brotherhood, betrayal of the Versailles Conference and looked for a transnational movement. Crowley did not attend Reuss’s international Freemasonry conference organized in Basle in 1920 for kindred fringe-Masonic representatives worldwide. Thinking about the invitation while in retirement in Cefalù, Sicily, the Beast wondered if he had it in him to combine such a collection of what he considered nonentities into a force.
But what really got Crowley’s goat was that while paying lip service to aspects of The Book of the Law, Reuss was obviously putting distance between himself and his supposed colleague. The reasons for this soon became apparent. Reuss was seeking financial support from AMORC-founder Harvey Spencer Lewis; Reuss offered Lewis an OTO diploma as an inducement to affiliation.”
“The devil continues to be as useful for the modern church as he has been in the past, when he bolstered the case for the burning of heretics. The concept now provides a dramatic way to underscore the dangers of a godless society. The organiser of last week’s course, Dr Giuseppe Ferrari, argues that a rise in the number of people abandoning religion and dabbling in the occult has increased Satan’s power. As head of the Gruppo di Ricerca e Informazione Socio-Religiosa, a Catholic organisation concerned with the threat posed by cults and sects, Ferrari says good exorcists are needed more than ever, since: ‘We live in a disenchanted society, a secularised world that thought it was being emancipated, but where religion is being thrown out, the window is being opened to superstition and irrationality.’
This seems like an extreme position, but it is in perfect alignment with Francis’s views, which go further than his brief mentions of the devil last week suggest. In his very first homily as pope, delivered in the Sistine Chapel on the day after his election, Francis bluntly quoted the French author and Catholic convert Léon Bloy: ‘Anyone who does not pray to the Lord prays to the devil.'”
“Iran’s state broadcaster, known as Islamic Republic of Iran Broadcasting, IRIB, has never been the country’s most dignified institution. But even by its own standards, the network plunged into a fresh abyss of superstition and fear-mongering with a recent broadcast in which Valiollah Naghipourfar, a cleric and professor at Tehran University, discusses the use of jinns, or genies, in public life.
‘Can jinns be put to use in intelligence gathering?’ the presenter asks ingenuously, as though dragons can also serve as defense ministers and we’ve all entered the realm of the Hobbit.
The cleric nods, as though speaking about a species of exotic elf: ‘The Jew is very practiced in sorcery. Indeed most sorcerers are Jews.'”
“Such paranoia and fear of the other, of course, is typical among the ultra-orthodox of any religion.”
“When I first told friends I was going to a meeting of the New York Ordo Templi Orientis branch, called Tahuti Lodge, the general consensus was that I should try not to die, and I should avoid sexual contact. […] As it turned out, neither of my friends’ concerns proved necessary.”
“One of the key questions I explore in the book is why Crowley remained a pop ‘icon’ – apologies for using a much abused and emptied-out term – long after other esoteric figures taken up by the 60s counter culture, like Jung and Madame Blavatsky, no longer were. The answer to that is that Crowley’s philosophy of excess – ‘excess in all directions’, as his friend Louis Wilkinson called it – is purpose built for rock and roll and the pop aesthetics that followed it.”
did you know: contracts with satan are null and void if signed with a genuine fisher space pen® – space pen® the anti-superstition choice
— rstevens 3.01 (@rstevens) July 7, 2014
“In a new study, a Yale Law School professor, Dan Kahan, finds that the divide over belief in evolution between more and less religious people is wider among people who otherwise show familiarity with math and science, which suggests that the problem isn’t a lack of information. When he instead tested whether respondents knew the theory of evolution, omitting mention of belief, there was virtually no difference between more and less religious people with high scientific familiarity. In other words, religious people knew the science; they just weren’t willing to say that they believed in it.”
“My arrival to a neo Platonic stance on this issue came initially through my interest for behaviourism and the realization of how an organism can be conditioned to nearly whatever and how inconstant and changeable the human mind and heart is which grew these ideas of dualism solely being a heuristic and not a reality. Later when I studied Advaita philosophy and Renaissance philosophers both from the European and Arabic renaissance a qualified monism took shape and got over the years sharper and sharper. Quite simply if we view everything in terms of polarities we also become more inclined to understand the tension within the fields of being and find the bridges of understanding that widens our horizon and in this the tension between the poles are also experienced less severe. For instance in the thoughts of Ibn Al Arabi we find the concept of Iblis being the limit of divine enfolding – and thus our experience of this concept is one of resistance and opposition, but in truth it serves a quite different function in defining the field of possibility for unfolding.”
“Most people believe that the persecution of ‘witches’ reached its height in the early 1690s with the trials in Salem, Mass., but it is a grim paradox of 21st-century life that violence against people accused of sorcery is very much still with us. Far from fading away, thanks to digital interconnectedness and economic development, witch hunting has become a growing, global problem.”
“We are walking into the heat scorched arms of summer this weekend, and as some of us keep our heads toward the earth, watching for signs and faerie rings, others are looking skyward again to that opulent display of rocket-fuelled magic.”
“The background setting is chiefly about the decline of humanity’s ability to survive as a species over the coming 100 years or so. The matter is doleful, sobering and utterly important.”
“Our witchcraft, nay, our very being must become more wild, more intuitive, and more accepting of nature’s amorality and our inevitable demise if we are to make any difference at all. If we are to preserve what we’ve left behind of the earth in our destructive wake, and if we are to survive in any number as a species, we must rewild ourselves and learn how to live outside of civilization. We must lose our faiths, our religions, our meaningless attachment to nitpicketity details only we as individuals and not a whole care about. We who are importers of foreign magics and alien gods. We must become a different kind of witch. Something that needs no definitions, no boundaries, and no expectations. Something more primal and raw than our current incarnation. Something small, something just outside your door…”
“A small hammer dating to the 10th century was found recently on the Danish Island of Lolland. Over 1000 of these amulets have been found across Northern Europe but the pendant from Lolland is the only one with a runic inscription.”
“Italy-based photographer Andrea Frazzetta gives us a little glimpse into the lives and rituals of modern healers from Lima, Peru. His project called ‘Urban Shamans’ peeks behind the doors of the rear private shops where shamans, or the so called curanderos, perform their traditional mystical rituals which are not subject to the laws and orders of today’s world.”
“Brooklyn-based artist Hannah Kunkle puts Kim Kardashian on the altar, literally. Kunkle delivers Kardashian as the Virgin Mary, Medusa, the devil and even Kleopatra. With a flashy net-art inspired aesthetic, the artist takes Kim’s iconic, worshiped image and puts it to work, naturally, with religious/cultish iconography. The controversial juxtaposition is rather riveting as its subtle insights perfectly captures the absurdity of our nation’s obsession with Kardashian and celeb idolatry in general. ‘We have accepted her into our lives via television screens, memes, and Instagram feeds’, she says. ‘If Jay Z is the father and Yeezus is the son, then she is the ever-present holy ghost of pop culture.'”
“At the very heart of quantum mechanics lies a monster waiting to consume unwary minds. This monster goes by the name The Nature of Reality™. The greatest of physicists have taken one look into its mouth, saw the size of its teeth, and were consumed. Niels Bohr denied the existence of the monster after he nonchalantly (and very quietly) exited the monster’s lair muttering ‘shut up and calculate.’ Einstein caught a glimpse of the teeth and fainted. He was reportedly rescued by Erwin Schrödinger at great personal risk, but neither really recovered from their encounter with the beast.”
“This is a really creative presentation of the dissertation, one which certainly challenges new scholars to consider the life of their work beyond the written page. It is great to see how this topic has been re-imagined into a totally different context, one which allows the audience to experience the milieu researched by Faxneld in an accessible and immediate way.”
“And this makes it all the more incredible that humans once revered the dung beetle, from the ancient Egyptians to a 17th-century Jesuit who compared Christ to the bug. These folks got a whole lot wrong about the dung beetle and made some pretty fantastical assumptions, but it turns out that their reverence was totally justified. The dung beetle may live its life in crap, but it’s actually a far more remarkable creature than you think.”
If you’d like to participate in the next Omnium Gatherum, head on over to the Gatherum discussions at the Hrmtc Underground BBS.
John’s Gospel and Intimations of Apocalyptic, edited by Catrin H Williams and Christopher C Rowland, from Bloomsbury Academic, may be of interest.
I heard of this from April D DeConick’s post at Forbidden Gospels:
“I dealt with centuries of mistranslations of John 8:44 and argue in my contribution to this book that this text reveals a long-kept secret that the early Johannine community believed that the devil had a Father who is the Jewish biblical god. This god is not Jesus’ Father. ‘Why are the Heavens Closed? The Johannine Revelation of the Father in the Catholic-Gnostic Debate.’ I also examine 1 John and show that this letter is written to domesticate the early community’s original understanding of John 8:44. This understanding of the Gospel of John forms now the basis of my understanding of Johannine Christianity, and will resurface in my chapter on the fourth gospel (John and the Dark Cosmos) in my book The Ancient New Age.
If you are interested in the Gospel of John and its intersection with revelation, this volume contains some really ‘new’ ideas and I highly recommend it.
Authors and Table of Contents:
· Christopher Rowland and Catrin Williams, Introduction
· John Ashton, Intimations of Apocalyptic: Looking Back and Looking Forward
· Benjamin Reynolds, John and the Jewish Apocalypses: Rethinking the Genre of John’s Gospel
· Ian Boxall, From the Apocalypse of John to the Johannine “Apocalypse in Reverse”: Intimations of Apocalyptic and the Quest for a Relationship
· Jörg Frey, God’s Dwelling on Earth: ‘Shekhina-Theology’ in Revelation 21 and in the Gospel of John
· Catrin Williams, Unveiling Revelation: The Spirit-Paraclete and Apocalyptic Disclosure in the Gospel of John
· Christopher Rowland, ‘Intimations of Apocalyptic’: The Perspective of the History of Interpretation
· April DeConick, Why are the Heavens Closed? The Johannine Revelation of the Father
· Jutta Leonhardt-Balzer, The Ruler of the World, Antichrists and Pseudo-Prophets: Johannine Variations on an Apocalyptic Motif
· Loren Stuckenbruck, Evil in Johannine and Apocalyptic Perspective: Petition for Protection in John 17
· Judith Lieu, Text and Authority in John and Apocalyptic
· Robert G. Hall, The Reader as Apocalyptist in the Gospel of John
· Robin Griffith-Jones, Apocalyptic Mystagogy: Rebirth-from-above in the Reception of John’s Gospel
· Adela Yarbro Collins, Epilogue” [via]
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
John Griogair Bell, Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
Dracula: Quite A Card! by Walter C Cambra, a 2012 monograph, which examines Bram Stoker’s Dracula from historical and symbolic frames such as Stoker’s involvement with the Hermetic Order of the Golden Dawn, astrology, kabbalah and tarot (which last suggests correspondences between Dracula as The Devil and Mina Murray as The Empress, and, in part, is inspiration for the title), is part of the collection at the Reading Room.
“The Devil’s Carnival 2: The Librarian” is teaser for the upcoming second installment in The Devil’s Carnival. It is also a completely true and accurate representation of my typical day at the Hermetic Library, sitting near the restricted stacks and sipping tea … Seriously. How did they learn so much about the floorplan of the Reading Room at the library and about my daily routine? The only thing they missed was my cat. Well, at least I still have that bit of privacy left.
“In 2012, Director Darren Lynn Bousman (SAW II-IV) and writer/actor Terrance Zdunich of REPO! THE GENETIC OPERA unleashed Episode One of their musical film series, THE DEVIL’S CARNIVAL. Hailed as “One of the single greatest devil-centric stories ever told” (Ain’t It Cool News), Episode One led audiences on a journey through the underworld. It’s 2013, and the boys are back with EPISODE TWO… And this time, they’re sending you to Heaven!
Starring Tech N9ne as The Librarian, this nine-minute teaser is chock-full of visual and musical hints of the heavenly delight that awaits audiences in THE DEVIL’S CARNIVAL: EPISODE TWO”
“The spectre of witchcraft is haunting the West, the dead giving up their secrets. This is a ritual unveiling of these mysteries. It is a vision and a revelation of the mytho-poetic structure of the Art.
Apocalyptic Witchcraft is a bold project which does not seek to impose an orthodoxy on what is the heresy of heresies. Instead, it suggests a way forward.
Apocalyptic Witchcraft gives a compelling and profound account of the Sabbat and Wild Hunt as living experiences. These are the core of our ritual practice. Dream, lunar and, critically, menstrual magic are explored as a path to this knowledge. The wolf, the Devil, and the Goddess of witchcraft are then encountered in a landscape that ultimately reveals the witch to her or himself. These are not separate threads, but arise from a deep mythic structure and are woven together into a single unifying vision. Alternating between polemic, poetic and ecstatic prose, an harmonious course is revealed in a sequence of elegant stratagems. The book is threaded together with a cycle of hymns to Inanna, pearls on the tapestry of night. Seemingly disparate aspects are joined into a vision which is neither afraid of blessing nor curse. This is a daring undertaking, born from both urgency and need. It offers a renewed sense of purpose and meaning for a witchcraft that has seen many of its treasured ideas about itself destroyed. An apocalyptic age demands an Apocalyptic Witchcraft, and this is a book which is offered up to revolutionise the body of the craft, a way out of the dark impasse.
Tradition is not static, it flows, and this work pours forth a vision for the future. Founded in pilgrimage and ritual, encountered in dreams and gleaned from the conversations of both doves and crows, a remarkable narrative unfolds. Its wings span from pre-history, through the witch-panic and it emerges fully fledged into our present moment of crisis. It offers a witchcraft for our time. Apocalyptic Witchcraft is a controversial, luminous text. A shuddering paroxysm of eternal renewal beneath the serpent moon.
It is neither a how-to book, nor a history, rather it is a magical vision of the Art in its entirety.” [via]
Blues for the Man Devil
There is a movie dialog sample from the 1965 film Blood of the Man Devil, with Lon Chaney, Jr. and John Carradine. It’s a strange and kind of slow film, but gives a window into Hollywood (and the mainstream society’s idea of what comprises the “occult.” For these people “The Devil” is the source of all occult power, and “Satanists” basically grovel even harder than Christians.
It’s ironic then that the man pinned as the “arch Satanist” of all time, Aleister Crowley had no belief or even interest in the Christian devil. In his Magick in Theory and Practice he points out the absurdity of the Christian concept of an anti-God. God is complete unity, as the Muslims say there is no God but God. Of course, this concept of an anthropomorphic God with a gender leads one to this kind of thinking, the Christians who wrote Blood of the Man Devil don’t understand that God is a unity, the universal vibration of creation.
Thus you have silly pledges to do evil, pacts with evil that misunderstand that above the abyss God has no concept of good and evil. God in some circumstances can seem demonic or devilish, especially if the lesson that must be learned if very difficult!
Shams93 is the brainchild of composer/performer Brian Redfern. Brian graduated from CalArts in 1998, having studied composition with Nyoman Wenten, Kobla Ladzepko and Wadada Leo Smith. In 2005 Brian switched from guitar to the ancient middle eastern instrument, the oud, studying with virtuoso Yuval Ron.
Previously Brian had been the guitarist for Los Hermanos de Jazz who had opened up for bands such as the Stone Temple Pilots and performed sessions for Death Row Records, back in the wild and crazy early 1990s. Back then he also created a project called “Aleister’s Bastards” inspired by the work 777 by Aleister Crowley. However at the time, he had no idea he lived right down the street from the famous occult author, Lon Milo DuQuette.
Shams93 runs the gamut from purely acoustic solo oud to electronic music and live electric performance. Brian plays both acoustic and electric oud and uses the ancient system of “Maqam music” from the middle east to compose new material based on ancient patterns.
He is greatly inspired by recent John Zorn projects such as the Crowley String quartet, which explore occult concepts with instrumental music inspired by western classical and avant guard.
Besides having earned an MFA from CalArts Brian is an initiated Freemason, 3○, 32○, Thelemite and self-initiated Sufi/Ishmaeli. He’s also a 3○ in the OTO and a probationer of the A∴A∴, so occult practice and meditation are massive influences on the music of Shams93.
An image of The Devil tarot card from Godfrey Dowson’s The Hermetic Tarot deck.
The Hermetic Library visual pool is a visual scavenger hunt for images of a living Western Esoteric Tradition. Images of your ritual or ritual space, images of sigils or tools, showing off your own library or special volume from the restricted stacks, sacred spaces and places, esoteric artefacts and installations, inspired paintings and people — these and much more are part of the culture and practice of magick. If you would like to submit your work for consideration as part of the visual pool, head over to the Hermetic Library visual pool or contact the librarian.