A sigil ; pl. sigilia or sigils; from Latin sigillum "seal") is a symbol used in magic. The term has usually referred to a type of pictorial signature of a demon or other entity; in modern usage, especially in the context of chaos magic, it refers to a symbolic representation of the magician's desired outcome.

shizzle + chaosphere

(blogger decided to f*ck with the width, some links @ the right side have been removed or relocated @ the left side; so long & tnx for al the shoes,)
The chaosphere is a popular symbol of chaos magic. Many variants exist. For more, see Symbol of Chaos.
 Chaos magic, sometimes spelled chaos magick, is a school of the modern magical tradition which emphasizes the pragmatic use of belief systems and the creation of new and unorthodox methods.

General principles

A chaos magic ritual that uses videoconferencing.
Although there are a few techniques unique to chaos magic (such as some forms of sigil magic), chaos magic is often highly individualistic and borrows liberally from other belief systems, due to chaos magic having a central belief that belief is a tool. Some common sources of inspiration include such diverse areas as science fiction, scientific theories, traditional ceremonial magic, neoshamanism, Eastern philosophy, world religions, and individual experimentation. Despite tremendous individual variation, chaos magicians (sometimes called "chaotes"[1]) often work with chaotic and humorous paradigms, such as the worship of Hundun from Taoism or Eris from Discordianism. Some chaos magicians also use psychedelic drugs in practices such as chemognosticism.[2]
Chaos magicians are often seen by other occultists as dangerous or worrisome revolutionaries.[1]


Origins and creation

This magical discipline was first formulated in West Yorkshire, England in the 1970s.[3] A meeting between Peter J. Carroll and Ray Sherwin in Deptford in 1976 has been claimed as the birthplace of chaos magic,[citation needed] and in 1978 Carroll and Sherwin founded the Illuminates of Thanateros (IOT),[3] a chaos magic organization. Liber Null (1978) by Peter J. Carroll further developed this new, experimental perspective on magic. This book and Carroll's Psychonaut (1981) remain important sources.


Visionary artist and mystic Austin Osman Spare, who was briefly a member of Aleister Crowley's A∴A∴ but later broke with them to work independently,[4] is largely the source of chaos magical theory and practice. Specifically, Spare developed the use of sigils and the use of gnosis to empower these. Most basic sigil work recapitulates Spare's technique, including the construction of a phrase detailing the magical intent, the elimination of duplicate letters, and the artistic recombination of the remaining letters to form the sigil. Although Spare died before chaos magic emerged, many consider him to be the father of chaos magic because of his repudiation of traditional magical systems in favor of a technique based on gnosis.
Following Spare's death, magicians continued to experiment outside of traditional magical orders. In addition to Spare's work, this experimentation was the result of many factors, including the counterculture of the 1960s and early 1970s, the wide publication of information on magic by magicians such as Aleister Crowley and Israel Regardie, the influence of Discordianism and Robert Anton Wilson, and the popularizing of magic by Wicca.

Early days

The first edition of Liber Null does not include the term "chaos magic", but only refers to magic or "the magic art" in general.[5] Texts from this period consistently claim to state principles universal to magic, as opposed to a new specific style or tradition of magic, and describe their innovations as efforts to rid magic of superstitious and religious ideas. Psychonaut uses the label "individual sorcery as taught by the IOT".[5]
Chaos came to be part of this movement defined as "the 'thing' responsible for the origin and continued action of events[...]. It could as well be called God or Tao, but the name Chaos is virtually meaningless and free from the anthropomorphic ideas of religion."[5] The Symbol of Chaos used to signify it was apparently, but not explicitly, lifted from the fantasy novels of Michael Moorcock. Carroll wrote that the chaotic aspect of this magic aims for "psychological anarchy[...] The aim is to produce inspiration and enlightenment through disordering our belief structures."[5]


Although organizations such as the IOT exist, chaos magic in general is among the least organized branches of magic and best described as a loose movement. Individual practitioners extend the existing material by incorporating other concepts, such as chaos theory, cognitive science, hypnosis and others.
Modern practitioners are experimenting with retro-chronal magic, or changing past events. This is a skill peculiar to chaos magicians, requiring a deep understanding of the nature of memory and belief and is also the proposed mechanism through which all magic works.[neutrality is disputed] It requires the practitioner to maintain a careless memory of how things used to be, with a belief that things are in chaotic flux, an expectation that change will occur and the ability to accept the changes as they occur. Terry Pratchett describes the process as the "zipper in the trousers of time".
Notable published authors on chaos magic include John Balance, Peter J. Carroll, Jan Fries, Jaq D. Hawkins, Robert Anton Wilson, Phil Hine, Alan Moore, Grant Morrison, Jozef Karika, Ian Read, Ray Sherwin, Lionel Snell and Ralph Tegtmeier.

Terms and practices within chaos magic

Belief as a tool

Chaos magic theory says that belief can be an active magical force. It emphasizes flexibility of belief and the ability to consciously choose one's beliefs, hoping to apply belief as a tool rather than seeing it as a relatively unchanging part of one's personality.[6] Various psychological techniques are employed in order to induce flexibility of belief.[7] Other chaos magicians suggest that people do not need "belief" to work magic.[8] Austin Osman Spare asserts in the Book of Pleasure and various other works that Will formulates Desire which promulgates Belief.

The gnostic state

A concept introduced by Peter Carroll is the gnostic state, also referred to as gnosis. This is defined as an altered state of consciousness that in his magic theory is necessary for working most forms of magic.[5] This is a departure from older concepts which described energies, spirits or symbolic acts as the source of magical powers. The concept has an ancestor in the Buddhist concept of Samadhi, made popular in western occultism by Aleister Crowley and further explored by Austin Osman Spare.
The gnostic state is achieved when a person's mind is focused on only one point, thought, or goal and all other thoughts are thrust out. Practitioners of chaos magic each develop their own ways of reaching this state. All such methods hinge on the belief that a simple thought or direction experienced during the gnostic state and then forgotten quickly afterwards bypasses the "psychic censor" (faculties averse to the magical manipulation of reality) and is sent to the subconscious, rather than the conscious mind, where it can be enacted through means unknown to the conscious mind. Three main types of gnosis are described:[2]
According to this belief, specific rituals, meditations and other elements of more traditional forms of magic are not to be understood as valuable by themselves, but only as gnosis-inducing techniques.

Magical paradigm shifting

Perhaps the most striking feature of chaos magic is the concept of the magical paradigm shift. Borrowing a term from philosopher Thomas Samuel Kuhn, Carroll made the technique of arbitrarily changing one's world view (or paradigm) of magic, a major concept of chaos magic.[5] An example of a magical paradigm shift is doing a Lovecraftian rite, followed by using a technique from an Edred Thorsson book in the following ritual. These two magical paradigms are very different, but while the individual is using one, he or she believes in it fully to the extent of ignoring all other (often contradictory) ones.
The shifting of magical paradigms has since found its way into the magical work of practitioners of many other magical traditions, but chaos magic remains the field where it is most developed. Changing belief systems at will is also sometimes practiced by followers of Discordianism.
Some chaos magicians like to operate in what is sometimes called a meta-paradigm. This is much akin to syncretism but with the consideration that flexibility of belief is a means of personal power and freedom. A more or less syncretic reality tunneling. Even more removed from this, being a post-meta-paradigmatic view, or an abstention from the notion of any view being absolute, compare Nietzsche's Perspectivism.

Emphasis on creative ritualism

Modification and innovation of ritual take place in all magical and religious traditions at varying paces. In the case of chaos magic, the idea that belief systems and gnosis-inducing techniques are interchangeable has led to a particularly wide variety of magical practices evidenced in large and diverse directories of rituals.[5][10] Many authors explicitly encourage readers to invent their own magical style.[11][12][13] The basic chaos magic training manual Liber MMM, mandatory for membership in the IOT, requires the original creation of a banishing ritual.[5]

Chevelle - Sleep Apnea

Chevelle off  their new album "Sci Fi Crimes
( ufo  in the album cover; *thump thump!*)

Chevelle Face To The Floor

Voynich manuscript

The Voynich manuscript, described as "the world's most mysterious manuscript",[3] is a work which dates to the early 15th century, possibly from northern Italy.[1][2] It is named after the book dealer Wilfrid Voynich, who purchased it in 1912.
Some pages are missing, but the current version comprises about 240 vellum pages, most with illustrations. Much of the manuscript resembles herbal manuscripts of the time period, seeming to present illustrations and information about plants and their possible uses for medical purposes. 

However, most of the plants do not match known species, and the manuscript's script and language remain unknown and unreadable. Possibly some form of encrypted ciphertext, the Voynich manuscript has been studied by many professional and amateur cryptographers, including American and British codebreakers from both World War I and World War II. As yet, it has defied all decipherment attempts, becoming a cause célèbre of historical cryptology. The mystery surrounding it has excited the popular imagination, making the manuscript a subject of both fanciful theories and novels. None of the many speculative solutions proposed over the last hundred years has yet been independently verified.[4]
The Voynich manuscript was donated to Yale University's Beinecke Rare Book and Manuscript Library in 1969, where it is catalogued under call number MS 408 and called a "Cipher Manuscript".[5][6]

The overall impression given by the surviving leaves of the manuscript is that it was meant to serve as a pharmacopoeia or to address topics in medieval or early modern medicine. However, the puzzling details of illustrations have fueled many theories about the book's origins, the contents of its text, and the purpose for which it was intended.
The first section of the book is almost certainly herbal, but attempts to identify the plants, either with actual specimens or with the stylized drawings of contemporary herbals, have largely failed. Few of the plant drawings (such as a wild pansy and the maidenhair fern) can be identified with reasonable certainty. Those herbal pictures that match pharmacological sketches appear to be clean copies of these, except that missing parts were completed with improbable-looking details. In fact, many of the plant drawings in the herbal section seem to be composite: the roots of one species have been fastened to the leaves of another, with flowers from a third.

Brumbaugh believed that one illustration depicted a New World sunflower, which would help date the manuscript and open up intriguing possibilities for its origin. However, the resemblance is slight, especially when compared to the original wild species; and, since the scale of the drawing is not known, the plant could be many other members of the same family, which includes the common daisy, chamomile, and many other species from all over the world.
The basins and tubes in the "biological" section are sometimes interpreted as implying a connection to alchemy, yet bear little obvious resemblance to the alchemical equipment of the period.
Astrological considerations frequently played a prominent role in herb gathering, bloodletting and other medical procedures common during the likeliest dates of the manuscript. However, apart from the obvious Zodiac symbols, and one diagram possibly showing the classical planets, no one has been able to interpret the illustrations within known astrological traditions (European or otherwise).
A circular drawing in the "astronomical" section depicts an irregularly shaped object with four curved arms, which, in 1928, antiquarian William Romaine Newbold interpreted as a picture of a galaxy, which could only be obtained with a telescope.[14] Similarly, he interpreted other drawings as cells seen through a microscope. However, Newbold's analysis has since been dismissed as overly speculative.[15]

SoundlessDawn Sigils, Magick, and The Ancient Alien Torah Since Sigil Magick is generally considered Will Magick rather than Spiritual Magick or Nature Magick, the goal of sigil usage is to mobilize your unconscious mind towards accomplishing the desires of your conscious mind.

Your unconscious mind, while extremely powerful, only understands symbols sent to it from your conscious mind. It does not understand what we would consider simple and straight forward communication. Hence, the need for sigils which are really just combinations of the letters in your statement of intent (minus repeated letters, state of being verbs: is, are, etc. and any vowels).
(i realy hope this is the cover steve willner is reffering to, if not i got to keep on lookin)

There are many ways to use the sigils. Common methods of usage include meditating on them and then burning, burying or destroying them in some other way so that they can pass from your conscious mind into your unconscious mind. There the instructions built into their design are decoded and followed.

The Meru Project has discovered an extraordinary and unexpected geometric metaphor in the letter-sequence of the Hebrew text of Genesis that underlies and is held in common by the spiritual traditions of the ancient world. This metaphor models embryonic growth and self-organization. It applies to all whole systems, including those as seemingly diverse as meditational practices and the mathematics fundamental to physics and cosmology...Meru Project findings demonstrate that the relationship between physical theory and consciousness, expressed in explicit geometric metaphor, was understood and developed several thousand years ago.

A living breathing language. Eons beyond the capabilities of human based Magickal practices.. as they are from our alien brothers, and perhaps our creators.

Smoke 2 Joints- Sublime (samples taken from the original film )

"Smoke Two Joints" is a song originally written by The Toyes, who performed it in traditional Reggae style and released it in 1982.
Sublime cover includes samples taken from the film Beyond the Valley of the Dolls ).

The intro is spoke by Duncan McLeod as Porter Hall, and goes like this:
"She was living in a single room w/ 3 other individuals, one of them was a male, and the other two, well, the other two were females. God only knows what they were up to in there, and furthermore, Susan, I wouldn't be the least bit surprised to learn that all four of them habitually smoked marijuana cigarettes..... reefers."

Spaceballs (1987) - Theatrical Trailer

Les Deux Mondes Bande Annonce

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