The Star Game, Chess, and the Nine Angles: An Introduction to Chess Hermeneutics

Posted: April 14th, 2022 | Author: | Filed under: Acausal Theory, Alchemy, Inner ONA, O9A, Occultism, Order of Nine Angles, The Sinister Tradition, The Star Game | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Comments Off on The Star Game, Chess, and the Nine Angles: An Introduction to Chess Hermeneutics

Grandmaster © Nameless Therein 2022

– “Grandmaster,” © Nameless Therein 2022

[Repost of: https://luxlycaonis.com/index.php/2022/04/14/chess-hermeneutics/]

The Star Game, Chess, and the Nine Angles:
An Introduction to Chess Hermeneutics

Much attention is given in the Order of Nine Angles to the importance of learning and playing the Star Game. At its most basic level, the Star Game can function as a learning tool or “game” to familiarize oneself with various Septenary correspondences and refine certain imaginative, creative, rational, and abstract faculties. At one of many esoteric levels, the Star Game functions as a way of magickally apprehending “the nine fundamental ‘alchemical’ forms,” which “re-present the acausal manifest in the causal.”[1] These “nine fundamental forms” are represented by the pieces of the Star Game, where each alchemical combination represents an “angle” with respect to the Septenary Tree of Wyrd, alluding to one esoteric meaning of the term “nine angles.”[2] These forms are said to “exist in many combinations within the nexion which the ‘Tree of Wyrd’ represents,” where such combinations “are abstractly symbolized by the placement of the many pieces of the Star Game over the seven boards (‘Spheres’) of that game.”[3] The aforesaid abstraction “makes the [nine fundamental] forms understandable on a level higher than using words and ideas,” which is in turn meant to cultivate “a new form of thinking” – a form of thinking referred to as “acausal thinking.”[4] The symbolism of the Star Game is essentially “a new tool to assist and develope our understanding, and it is via this symbolism that the meanings of the nine angles may most easily be understood without confusion.”[5] The simple or Septenary form of the Star Game is meant to be an introduction to its advanced form, which is a “complete and full representation of the septenary system.”[6] In more advanced applications, the Star Game functions as a “sophisticated magickal ‘clock’” with respect to the Wheel of Life;[7] and in its advanced form, the game can be used for Aeonic magick.[8]

While many associates have some understanding of the esoteric significance of the Star Game and its basic applications, I find it bewildering how so many associates attempt to learn the Star Game while completely neglecting training and experience in the game of chess.

CHESS AND THE STAR GAME

Like the Star Game, chess can be played as nothing more than an entertaining game, rich with complexity and a deep cultural history over the course of its long evolution. But from its longstanding cultural origins, its tangible influence on world history,[9] its influence on global technology,[10] and its usefulness in developing certain higher-level faculties in the individual, the significance of chess has broader socio-cultural implications. Unlike the Star Game, chess is merely a game. But it can be an invaluable tool to develop, refine, and expand the necessary faculties required for applying the Star Game to its many esoteric and magickal contexts. At a practical level, the study of certain fundamental patterns in chess provides a foundation for navigating the boards and pieces of the Star Game. With care, experience, and creativity one can find correlates between the patterns found in chess and the nine fundamental alchemical forms represented by the pieces of the Star Game, which again represent one esoteric meaning of the “nine angles.”[11] Insofar as these nine alchemical forms “are the basic apprehensions of magickal energy … [representing] the acausal manifest in the causal,”[12] and given that these forms can manifest in many ways, the study of correlative fundamental patterns in chess is a worthwhile and important activity. At a more advanced level, discovering correlations between the patterns in chess and the forms of the Star Game can aid in the development of the imaginative, creative, rational, and abstract faculties required for their magickal apprehension and application. At more advanced levels of chess, experience with these fundamental patterns not only finds application in real life – in navigating interpersonal conflict, strategizing, and identifying complex networks of meaning, for example – but can form a bridge between instinct and what with respect to the Star Game is referred to as an “intuition” – a lower form of abstraction that can arise with “acausal thinking.”[13] The capacity for acausal thinking arises from the relation between the abstract symbols of the Star Game and “conventional representations,” such as “archetypal forms; the energies of the pathways; the symbolism of the Tarot and the many and various Occult symbolisms.”[14] This capacity thus arises, in part, from the formation and implementation of the meaningful associations and “deep roots” that I described elsewhere (see my previous articles, “‘Deep Roots’ and Meaningful Associations: Musical Tarot Continued, Auditory Sigils, and Aeonic Chant Magick” and “Techniques for Doing a Musical Tarot Reading & Creating Auditory Sigils”). Thus, in forming the aforesaid correlates between the patterns of chess and the forms of the Star Game, in establishing a bridge between instinct and “intuition,” and in developing and then refining the necessary faculties to apply said patterns to more advanced esoteric and magickal contexts, training in chess is an invaluable tool for learning and playing the Star Game.

Colloquially, the number of possible chess games that can be played is sometimes said to exceed the number of stars or atoms in the known universe. More precisely, the number of possible legal positions was estimated by Claude Shannon in 1950 to be “of the general order of 64!/32!(8!)^2(2!)^2, or roughly 10^43,” which is now referred to as “Shannon’s number.”[15] More recently, Victor Allis estimates this to be around10^50,[16] additionally estimating the game-tree complexity of chess to be 10^123.[17] Again, given this immense number and given the even greater complexity of the Star Game when accounting for the variables involved in its advanced magickal applications at the Aeonic level (which, like our “normal” understanding of the septenary, reflects not just a “‘map of consciousness and the cosmos,”[18] but a dynamic of the universe), it is difficult to imagine how one can approach the Star Game, let alone the advanced form of the game, without some experience in chess.

That said, while one can play the Star Game without any experience in chess, it is my opinion that high-level chess players, including those at the Master and Grandmaster levels, would be of assistance in developing the Star Game. Such players could assist in developing a consistent notation to record and then analyze games, in addition to determining how to approach tactics, strategy, openings, and calculating accurate moves in specific positions. Eventually, we may be able to develop Star Game engines, both to analyze our games and to play against. Without these and similar developments, the Star Game will likely encounter obstacles over the course of its evolution, highlighting an asymmetry between the potency of its magickal applications and the practical limitations of playing and studying the game. It is hoped that in emphasizing the importance and usefulness of studying chess in relation to the Star Game, others will take up these tasks. With the esoteric and magickal applications of the Star Game in mind, it is also hoped that a confluence between chess and the Star Game can aid Internal Adepts and Masters/Mistresses in constructing and then employing new empty formal structures of magick to employ at the Aeonic level. These function as formal structural “models” that can then be populated, directed, and implemented according to a specific magickal or esoteric technique.

With those aims in mind, I will be regularly introducing various chess patterns or puzzles in relation to various levels of meaning relevant the Order of Nine Angles. I call these “chess hermeneutics.” To make sense of what I mean by this phrase, in addition to how these chess puzzles will be applied to the ONA, I will say a little more about the origin and meaning of “hermeneutics.”

A BRIEF HISTORY OF HERMENEUTICS

The word “hermeneutics” comes from the Greek infinitive hermenuein, which means “to interpret.”[19] Hermeneutics is an ancient field with a long history, one that was revived in the modern age and particularly in the nineteenth century. In the ancient world, hermeneutics developed in two contexts: one was Greek and the other was biblical. In the Greek context, hermeneutics took shape with respect to the work of Homer, who is sometimes regarded (and explicitly referred to) as the teacher of Greece. Through Homer we find the ancient myths conveyed in epic poetry, which provided a context for the Greeks to understand the world they inhabited. Though there are disagreements about when to date Homer, we can see from the fourth and fifth centuries that his work guided the Greeks over the course of several centuries. With this guidance and as history began to run its course, the question concerning how Homer’s work could come to bear on the current circumstances of individual lives took shape. The response, broadly speaking, was that some dynamic or process of interpretation was needed. This was also the case in the biblical context of hermeneutics, both with respect to the New Testament and the Old Testament. Hermeneutics was the name given to that process or dynamic of interpretation.

Hermeneutics made its way from the ancient world to the modern one through works like Aristotle’s On Interpretation, which was devoted to the task of analyzing sentences, to the work of St. Augustine in the early medieval period, which was concerned with the question of how the word of God could be understood by human beings. Hermeneutics saw a revival in the nineteenth century through the work of the theologian Friedrich Schleiermacher, who was interested in the question of scriptural interpretation. Schleiermacher developed a mode of hermeneutics characterized as “romantic,” which in effect concerned a type of understanding or communion between the interpreter and the historical source of the text. Hermeneutics began to branch out from theology as Schleiermacher became interested in the character of understanding generally. Around this time, we also find contributions to hermeneutics in the work of the philosopher Wilhelm Dilthey, whose name comes up in Heidegger’s Being and Time when Heidegger distinguishes his own hermeneutical project from that of philosophical anthropology. Dilthey essentially draws a distinction between the natural sciences (Naturwissenschaften) and the human sciences (Geisteswissenschaften), which includes the social sciences developed in the nineteenth century.

Dilthey may have been looking for a way to work within the human sciences that was more appropriate for them than that of the natural sciences. We find, in turn, that the type of thinking appropriate for the human sciences is understanding, which brings along with it a question of meaning. This is contrasted with the type of thinking appropriate for the natural sciences, which is explanation. In short, Dilthey concluded that hermeneutics is the method appropriate for the human sciences.

At this point, hermeneutics began to re-emerge prominently as a development that continued and intensified into the twentieth century. Additionally, the distinction between the natural sciences and human sciences created a division between those who approached the human sciences with respect to understanding and meaning versus those who attempted to work within the human sciences as if they were natural sciences. This essentially involved a division between a hermeneutical approach (sometimes called interpretive social science) and a calculative methodology (sometimes called calculative social science). This division can still be seen in, for example, the difference between Continental philosophy and Anglo-American analytic philosophy, broadly speaking.

Though there are other fields that take a strong interest in hermeneutics – hermeneutic interpretation finds a strong presence in law and jurisprudence, for example – today the term usually refers to philosophical hermeneutics, and specifically philosophical hermeneutics after Heidegger. Heidegger brought hermeneutics into philosophy in a major way through his analysis of Being. In analyzing the structure of the type of being that we are (which Heidegger calls “Dasein”), Heidegger finds that we are “always already” interpreting. This discovery – that a hermeneutical interpretive dynamic is always already at play with respect to the ontological structure of our being – was a major contribution to the Western intellectual tradition and carried hermeneutics into the modern world.

CHESS HERMENEUTICS: SHAPESHIFTING, SATANISM, AND MIMESIS

With respect to what has been written here on the Star Game, chess, and hermeneutics, the phrase “chess hermeneutics” is thus meant to refer to a specific way of interpreting the correlations between certain fundamental patterns encountered in chess and the nine fundamental alchemical forms in the Star Game, which represent one of the esoteric meanings of the “nine angles.” In keeping with the role of the “shapeshifter” in the ONA, studying certain recurrent, fundamental chess patterns in their myriad configurations can help illuminate the many ways these dynamics are interpretive and require interpretation – not just on the board, but in real life. Like the “nine angles,” such dynamics are operative in consciousness and throughout the cosmos, requiring a kind of reflexivity between the operator and their environment: before one can identify the many ways such dynamics manifest in the world, they must first develop the faculties required to identify and then imitate these primordial patterns, thereby “shifting their shape” or “shapeshifting,” to illustrate one esoteric sense of the term.

Many who claim the title “Satanist” have not developed the faculties required for this kind of imitation at even the most basic level – faculties required to approach any magickal apprehension of “shapeshifting.” Beyond Satanism and with greater experience, one learns to approach this basic form of imitation through the more advanced interpretive dynamic of mimesis, which, in one advanced form, alters by way of complex forms of “imitation” certain formal structures of the narrativity of wyrd. This is a clue to what “shapeshifting” actually entails, here approaching the Aeonic level. At that level, “‘Mimesis’ is one method of aeonic magick that has come down over the centuries,” involving the imitation of “some aspect of cosmic/Earth-based movement/working, and then either following the natural pattern or slightly altering that pattern to bring about a subtle change.” Additionally, given that it is this “alteration” that “forms the basis for ‘black’ magick,”[20] it is quite telling that so few “Satanists” have a sense of what that means.

In an attempt to remedy this, and as a practical way of encouraging others to develop the faculties required for advanced magickal applications of the Star Game, I will thus be introducing a series of “chess hermeneutics.” These will involve specific puzzles and positions in relation to certain interpretive dynamics. Those dynamics may include (but are not limited to): 1) relations to certain energies, forces, paths, spheres, and Dark Gods on the Tree of Wyrd; 2) applications in certain interpersonal scenarios in real life; 3) connections to other magickal and esoteric ideas, techniques, or correspondences; and 4) potential connections to the Star Game, when and where applicable. While these are not intended to be comprehensive, they will offer a few ideas on how to identify and then utilize such dynamics with an eye toward broader, more advanced esoteric, magickal, existential, and cosmic applications.

In turn, I will try to select puzzles and positions requiring varying levels of skill and experience on the chess board, ranging from intermediate to advanced. These will be created as I find puzzles and positions worthy of constructing into a “chess hermeneutic,” which may take some time.

In closing, I encourage those interested or experienced in the Star Game to supplement their knowledge with chess. Though there are many online resources to begin studying and playing the game – chess.com is an excellent resource, for example, and has a “puzzles” trainer that includes over 150,000 different puzzles to solve at different Elo ratings – what is important, as with all things, is to get started.

Nameless Therein
Scothorn Nexion
April 13, 2022

NOTES

[1] Anton Long and the Order of Nine Angles, “The Nine Angles – Esoteric Meaning,” in Hostia: Secret Teachings of the O.N.A., Volume I (Shrewsbury: Thormynd Press, 1992).

[2] Long and ONA, “The Nine Angles.” The Tree of Wyrd itself “possesses nine causal angles and nine acausal angles in the causal geometric sense,” which the author notes “can be represented as formed by the corners or angles of a causal and acausal tetrahedron, one a reflexion of the other, the base of both lying in the plane of the middle sphere (the Sun). This double tetrahedron encloses in three-dimensional space the path from causal to acausal – the ‘Initiate journey’ from the sphere of the Moon to Saturn via the other spheres, this path being helical (cf. ‘The Wheel of Life’). The direction of this path is ‘counter-clockwise’.” Regarding the nine angles themselves, the author adds that, “In essence, the acausal is a reflexion (and vice versa) of the causal, so the single term ‘Nine Angles’ describes what is our normal (i.e. un-Initiated) view of the septenary, this septenary being a ‘map’ of consciousness and the cosmos. The realization of the dual nature of the spheres (for example, Mercury is the ‘shadow’ of Mars) arises from Initiation and is the first stage of an esoteric understanding of the term ‘nine angles.’”

[3] Ibid.

[4] Ibid. The author notes that the higher-level understanding of these nine fundamental forms “arises from playing the Star Game and relating the abstract symbols to conventional representations (e.g. archetypal forms; the energies of the pathways; the symbolism of the Tarot and the many various Occult symbolisms) – this developes the capacity for what may be termed ‘acausal thinking’: when the conventional representations are abandoned and collocations are viewed abstractly.” The author emphasizes that this abstraction is “not a dry, academic process,” but a “new ‘insight’ (a lower form of which is often described an ‘intuition’),” whereby consciousness is extended “into new and important realms and pre-figures the development of a symbolic language which eliminates the confusion, both moral and linguistic, which exists in words and the translation of complex ideas into such words.”

[5] Ibid.

[6] Long and ONA, “Advanced Star Game,” in Hostia I.

[7] Long and ONA, “Star Game: Addendum,” in Hostia I.

[8] For more on this subject, see, Long and ONA,“Aeonic Magick – General Notes,” in Hostia I. Also see the final section of “The Septenary Star Game” in Hostia I, which elaborates briefly on what “Aeonic magick” in part entails with respect to the Star Game. The author notes that, “It is important to understand that the most important and practical aspect of an Aeon is the associated higher civilization – magickal Aeonic workings shape the ethos of this during the transition period between the ending of one Aeon and the beginning of another.” Elaborating further, the author states:

Hitherto, Aeonic workings – when they have been undertaken at all – have concentrated on opening the Gate that presences the power of a new Aeon. Yet is possible to extend by such workings a … [higher civilization] into the … [sulphur] stages. For the present, this implies the end of the Western as c. 3090 AD instead of 2390 AD. This is the first time in history that such a change is possible, since heretofore the process of Aeonic change has not been consciously understood by Adepts – it was approached mainly via mythological symbolism. It is through the abstract symbolism of the Star Game that full control is possible.

However, the following comments from Hostia I, “Aeonics” should also be kept in mind when approaching these advanced esoteric topics: “These are ‘esoteric’ teachings – of necessity, because their understanding requires the insight and knowledge which an External Adept and Internal Adept has attained. Without this insight and knowledge, there is liable to be mis-understanding and a failure to appreciate the finer points (or even any of the points at all).”

[9] Chess has seen many historically significant events over the course of its history. The defeat of the Soviets in the 1972 world championship between Bobby Fischer and Boris Spassky is one of many notable examples. See David Edmonds and John Eidinow, “Match of the Century,” ch. 1 in Bobby Fischer Goes to War: How the Soviets Lost the Most Extraordinary Chess Match of All Time (New York: HarperCollins Publishers, 2005). The authors colorfully expound upon the historical significance of this event as follows:

To Western commentators, the meaning of the confrontation seemed clear. A lone American star was challenging the long Soviet grip on the world title. His success would dispose of the Soviets’ claim that their chess hegemony reflected the superiority of their political system. The board was a cold war arena where the champion of the free world fought for democracy against the apparatchiks of the Soviet socialist machine. Here was the High Noon of chess, coming to you from a concrete auditorium in Iceland.

[10] As evidenced in, for example, the 1996 match between IBM’s supercomputer Deep Blue and Garry Kasparov, which demonstrates the lasting influence chess technology and chess engines have had on global technology. One can trace these developments to related subjects in, for example, the analytic tradition of philosophy of mind, particularly with respect to consciousness (see, e.g., David Chalmers’ zombie argument), physicalism (see, e.g., Frank Jackson’s Mary argument on qualia), dualism (see, e.g., Descartes’ Meditations and the mind-body problem), epiphenomenalism (see the entry linked here), and, more recently panpsychism or Russellian monism, which is thought to be a resurgence of vitalism and is a rich development in philosophy of mind. On the subject of panpsychism, see, for example, some of the recent work by Sam Coleman, David Chalmers, Thomas Nagel, in addition to Galen Strawson et al., Consciousness and its Place in Nature (Charlottesville: Imprint Academic, 2006). All of these areas of research have more or less had some influence on the concomitant development of artificial intelligence, and thus have some bearing on the rise of chess engines. See, for example, David Chalmers’ work related to “strong” and “weak” AI with respect to consciousness, as well as the famous thought experiment by John Searle referred to as “The Chinese Room Argument.” A great (illustrated) overview of this thought experiment, in addition to notable criticism of it, can be found here: https://mind.ilstu.edu/curriculum/searle_chinese_room/searle_chinese_room.html. For an overview of one of the more famous critiques of this thought experiment, see the “Robot Reply” found here: https://mind.ilstu.edu/curriculum/searle_chinese_room/searle_robot_reply.html. In terms of the rise of chess and artificial intelligence, many of these subjects are relevant to early ideas on Turing machines. See, for example, Claude E. Shannon, “A Universal Turing Machine with Two Internal States,” in Automata Studies (AM-34), eds. C. E. Shannon and J. McCarthy (Princeton: Princeton University Press, 1956). On the question of whether chess computers can “think,” see Claude E. Shannon, “A Chess-Playing Machine,” Scientific American, 182, no. 2 (February 1950): 48-51.

[11] Long and ONA, “The Nine Angles.”

[12] Ibid.

[13] Ibid.

[14] Ibid.

[15] Quoted in Stefan Steinerberger, “On the Number of Positions in Chess without Promotion,” International Journal of Game Theory 44, no. 3 (August 2015): 762, https://doi.org/10.1007/s00182-014-0453-7. Steinerberger clarifies what this number calculates as follows:

The number is known as Shannon’s number: it counts the number of ways to arrange all chessmen (henceforth simply called med) taking into account that no two men can occupy the same square and that furthermore any two identical men of the same color are indistinguishable. This number does not consider the possibility that not all the men need to be on the board (some might have been already captured) and … it also does not account or the rule of promotion whereby a pawn must be promoted to a more powerful figure if it advances to the end of a file (column of the chessboard). However, it also accounts for all sorts of illegal positions that can never possibly occur. This combination of factors makes it difficult to say whether Shannon’s argument over or underestimates the actual state space.

[16] See Steinerberger, “Positions in Chess,” 762.

[17] Victor Allis, “Searching for Solutions in Games and Artificial Intelligence” (PhD diss., Maastricht University, 1994), 171.

[18] Long and ONA, “The Nine Angles.”

[19] Brian Gilchrist, “Questions Concerning Ge-Stell: Heideggerian Confrontations with Technology,” Explorations in Media Ecology 14, nos. 3-4 (December 2015): 240.

[20] Long and ONA, “Aeonic Magick – General Notes,” in Hostia I.


“Deep Roots” and Meaningful Associations: Musical Tarot Continued, Auditory Sigils, and Aeonic Chant Magick

Posted: April 9th, 2022 | Author: | Filed under: Acausal Theory, Alchemy, O9A, Occultism, Order of Nine Angles, Rounwytha, Tarot Cards, The Sinister Tradition, The Star Game | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Comments Off on “Deep Roots” and Meaningful Associations: Musical Tarot Continued, Auditory Sigils, and Aeonic Chant Magick

chant-grid

[Repost of: https://luxlycaonis.com/index.php/2022/04/09/aeonic-chant-magick/]

“Deep Roots” and Meaningful Associations: Musical Tarot Continued, Auditory Sigils, and Aeonic Chant Magick

With respect to my previous post on musical tarot (“Techniques for Doing a Musical Tarot Reading & Creating Auditory Sigils”), I would like to add a few comments regarding the selection of appropriate music. I will additionally offer some commentary regarding the purpose of sensory layering techniques like combining musical and visual tarot readings in relation to the creation of advanced auditory sigils for the purpose of chant magick. I will conclude by noting a few ways this finds application in Aeonic magick.

Regarding the selection of music for musical tarot readings, a few things should be kept in mind. The music selected should be meaningful to the user, emotionally evocative, and selected with care, keeping in mind that it needs to be appropriate for this type of working. While one should feel free to experiment, it should be noted that certain forms of popular music may introduce coloration and structural distortion in the creation of auditory sigils. Lyrics and certain lyrical themes, certain musical production elements, “noise,” and other distracting characteristics may misdirect the user’s emotional and psychic attention. Lyrics, for example, can be distracting insofar as they involve the mediating role of language. This is not to say that music with lyrics should be avoided; chant itself is defined as “sung speech.”[1] But on this point – and though here taken grossly out of context – something Nietzsche wrote on the relation between lyric poetry and music is relevant:

Language can never adequately render the cosmic symbolism of music, because music stands in symbolic relation to the primordial contradiction and primordial pain in the heart of the primal unity, and therefore symbolizes a sphere which is beyond and prior to all phenomena. Rather, all phenomena, compared with it, are merely symbols: hence language, as the organ and symbol of phenomena, can never by any means disclose the innermost heart of music; language, in its attempt to imitate it, can only be in superficial contact with music; while all the eloquence of lyric poetry cannot bring the deepest significance of the latter one step nearer to us.[2]

In keeping one’s “eye on the prize,” the user must remember that the goal of techniques like sensory layering is to form meaningful associations – associations that combine many levels of meaning across the emotive, mnemonic, sensory, and symbolic domains. These are structured organically, in that each experience will be unique according to the musical selection, tarot reading, and a plethora of other associations from the user’s unique history; but there is also an element of chaos, in that the way these meaningful associations structure themselves systematically through sensory layering are unpredictable and beyond the comprehension or control of the user. Interestingly, however, in being directed systematically across the seven Septenary spheres of the Tree of Wyrd, the structure of such experiences can be reproduced for other individuals (in using, for example, the same music and tarot reading); but the way that structure takes shape across the psyche for a given user will be unique. This structure, which is in part created by meaningful associations combined with sensory layering techniques in motion across the Septenary spheres, creates what I call an “auditory sigil.” In the technique described above and in my previous post, this involves combining musical and visual tarot readings using a Septenary spread and then moving from one card and sphere to the next sequentially while listening to the corresponding music.

These auditory sigils become more efficacious as layering meaningful associations reach their zenith through an increase of precision and symbolic condensation. The technique I suggested of combining musical tarot readings with visual tarot readings and then directing them across the seven Septenary spheres is an introductory exercise. It is meant to allow the user to experience certain energies of the Septenary spheres, to form meaningful associations with them through sensory layering, and then to direct these systematically across those spheres, where the sequential movement or motion of meaningful associations from one sphere to the next essentially creates the auditory sigil (at the most basic level of chant, melodic movement and chant sequencing across the spheres perform this function). The exercise is not only a useful introductory tool to familiarize and then personalize the Septenary energies and correspondences, but also serves as a simple and practical technique to start creating and then cataloguing a “toolkit” of auditory sigils for use in more advanced Septenary and sinister magick.

As one gains experience with the creation of auditory sigils and begins to establish a catalogue, the practitioner may wish to make their way into the more advanced domain of esoteric chant magick. Much more can be said on this subject, and I may elaborate on some of the following techniques in a subsequent article. But part of the purpose of chant magick is to expand and increase the efficacy of these auditory sigils, and then direct them. Through a precise series of correspondences, meaningful associations can be focused, deepened, and directed using advanced sequences of melodic motion, specific Gregorian modes and diatonic musical keys, polyphonic and harmonic layering, visual sigils, incenses, colors, and the Dark Gods, to list a few examples. Each individual will additionally bring with them a vast host of meaningful associations from their life experiences, magickal experimentation, and transformations through the Grade Rituals. Previous, less clarified, and rudimentary auditory sigils can be expanded upon and developed; they can be structurally recreated and worked with interpersonally and intersubjectively in a group setting; they can be introduced into even larger groups of practitioners for purposes determined by specific Nexions; they can be used in the Star Game, including the advanced form, for the purposes of Aeonic magick; and they can be animated as “egregores” through advanced mimetic techniques.

While these are only a few of the applications of esoteric chant magick, its application, unlike external and internal magick, is one of the most powerful forms of magick in the Order of Nine Angles. These techniques are unique to the tradition. It is also one of the few forms of magick that is capable reaching the Aeonic level for use in Aeonic magick.

On this point, and returning to the topic of selecting music for musical tarot readings, I would like to draw the reader’s attention to an interview with the composer Edward Artemyev on his experience working with the cinematic auteur and master, Andrei Tarkovsky. Artemyev’s account of Tarkovsky’s views on the inclusion of music in his films not only highlights the appropriate mindset one should have in selecting music for a musical tarot reading, but illustrates what is partially required for chant magick to find application in Aeonic magick, where all previous meaningful associations, symbolic “gestures,” and forms fall away, collapsing into an incommunicable essence that is then directed as “melodic” spiritual energy:

I’ll begin with Tarkovsky. The most unusual things were the tasks set and our first conversation with him … I was struck by his attitude to music in film, precisely in his films. He told me right away that he didn’t need a composer at all. He needed the composer’s ear and his masterful command of sound, in order to mix music, to make musical effects. Possibly, to add some orchestra, but so that it didn’t stand out. So that it be background sound organized compositionally. I was simply startled by this. But so it was when we filmed Solaris, Mirror and Stalker. This idea of his was constantly present. He did not need music as a developing theme. “This is not a concert,” he said. “This is something special. When I run short of cinematic means, then I put on music.” But since he, basically, had enough means, he needed a composer only as an organizer of the background sound. And if a film needed some music, as in Solaris, he used Bach. There was Bach in Mirror, too, it was either “The St. John Passion,” or “The St. Matthew Passion.” Music as the lining to image he did not want.

Once Tarkovsky told me a very interesting thing. I asked him: “Why? I can write something [music] for the film too.” He [Tarkovsky] answered that cinema had no roots, that it was too young an art. It is only one hundred years old. To give the viewer a sense of deep roots, to make a linkage with the world art, the music of old masters is needed. As well as the paintings of old masters which he did quote … Subconsciously, it creates, as he believed and was right to believe, the deep roots for that art.

In many respects, the Order of Nine Angles is equally too young an art, despite its ancient influences and roots. In constructing meaningful associations with the aim of auditory sigils and chant magick, in addition to the application of magick in general and the establishment of tradition, Tarkovsky’s point is helpful: the creation of “deep roots” requires a “linkage with the world of art,” and for this “the music of old masters is needed.” This is perhaps even truer in making linkages with the world of magick. For this, the “music of old masters” is indeed needed; and in the application of chant magick, that music tends to find its most powerful voice through devotional Gregorian chant. The “deep roots” Artemyev referred to need to initially extend into the unconscious and find shelter there, which is part of the goal of introductory sensory layering techniques like combining musical tarot with visual tarot. When one reaches the more advanced stage of esoteric chant magick, these will begin to form a “bridge” into consciousness (through, for example, the path from the Moon to the Sun, which is the path of Azoth / Satanas). Eventually, these “deep roots” will exceed both, requiring the dyssolving of the ego. At this point, previous forms of meaningful association will shed their skin, taking on a structural identification that can only be approximated in music or speech as their sensory, psychic, and spiritual layering becomes more and more condensed. This can occur, for example, when one’s “catalogue” of correspondences, associations, and auditory sigils has become rich and expansive enough to resemble a Tree a Wyrd through the “doors” or “paths” created by layered associations across the psyche (through, e.g., years of advanced chant magick). Chant itself then becomes malleable, where certain musical and magickal elements of a given chant become interchangeable with others. Auditory sigils themselves can then be layered, where that malleability can lead to a kind of musickal dyssolving, unlocking the true power of chant magick. Contrary to popular belief, the map can become the territory. And this is required before an Aeonic context becomes possible. For this, “deep roots” and meaningful associations can only do so much; it is necessary to enact both as a kind mimesis through embodied imitation – an imitation of these condensed associations and their function as a Tree of Wyrd within the psyche – through transformative activities like the Grade Rituals of the Seven-Fold Way (though there may be other ways). Put another way, one’s psycho-spiritual constitution should actually resemble the “deep roots” and meaningful associations an individual has established – a resemblance that mirrors and enacts a functional Tree of Wyrd within the psyche. (One’s psycho-spiritual constitution and the development of “deep roots” go hand-in-hand. Attempting to develop one without the other will usually be self-evident to those who have developed both.) Unless real alchemical change has occurred in the individual in lock-step with their approach to chant magick, this kind of magick is not only dangerous but may have catastrophic effects.

With respect to Artemyev’s reference to Tarkovsky on “deep roots” in relation to art, some of Nietzsche’s comments on the Apollinian and the Dionysian in The Birth of Tragedy may be helpful. Though unrelated and taken completely out of context – this passage needs to be read in its proper context to understand what Nietzsche is trying to convey – it does cryptically illuminate a sense of some of what has been said here on the relationship between “deep roots” and chant magick, particularly with respect to “imitation.” In needing to be practiced and experienced, chant magick by and large resists rational comprehension or explication – and Nietzsche indirectly captures both sentiments if the following is read “artistically” or “musically” with this in mind:

Thus far we have considered the Apollinian and its opposite, the Dionysian, as artistic energies which burst forth from nature herself, without the mediation of the human artist – energies in which nature’s art impulses are satisfied in the most immediate and direct way – first in the image world of dreams, whose completeness is not dependent upon the intellectual attitude or the artistic culture of any single being; and then as intoxicated reality, which likewise does not heed the single unit, but even seeks to destroy the individual and redeem him by a mystic feeling of oneness. With reference to these immediate art-states of nature, every artist is an “imitator,” that is to say, either an Apollinian artist in dreams, or a Dionysian artist in ecstasies, or finally – as for example in Greek tragedy – at once artist in both dreams and ecstasies; so we may perhaps picture him sinking down in his Dionysian intoxication and mystical self-abnegation, alone and apart from the singing revelers, and we may imagine how, through Apollinian dream-inspiration, his own state, i.e., his oneness with the inmost ground of the world, is revealed to him in a symbolical dream image.[3]

In closing and to elaborate upon what has been written here a little further, I would like to share a transcript of part of a conversation I recently had with a close friend – someone who has completed the Grade Ritual for Master of the Temple (the sphere of Mars, past Internal Adept). Our conversation was on the subject of chant magick, during which I was asked the following:

As a musician … do you feel like when you perform esoteric chant … it is the precise performance of the chant that gives you access to … [a] particular pathway of [the acausal]? Or do you feel that it … [arises from] the connection … [you make] empathically [to it]? Or is it somewhere in the middle? Is it because you are a musician and by performing … [the chant as accurately as possible, you evoke] that empathic connection and … access is granted to you? What are your thoughts on that?

My response was as follows:

[While much more can be said,] the most important thing with respect to accessing the acausal is what I would call “charging.” Someone could formulaically perform a chant perfectly at every technical level and achieve nothing by way of magick. There are so many factors that play into successful chant work, but the energy generated to “unlock” a certain direction or momentum … [to] puncture into the acausal “stratosphere,” so to speak, comes from a continual, impromptu acclimation into higher and higher spheres of meaningful signification. This happens in real time, and those significations converge, often violently. I call this “charging,” and without that chant is at best informal mediation, not musick and certainly not magick. In this, certain “forms” can help the charging – the more symbolically condensed and meaningful the better. But eventually one doesn’t … need such symbols anymore. The condensation, like a sigil, becomes a kind of “muscle memory” – a treasure incarnated and recalled with each subsequent performance and charging.

The amazing and difficult thing about chant magick is that unlike, say, a Hermetic ritual, there are no symbols or meaning structures other than the internal movement of the … melody in combination with the words. Generating the proper charge from that takes skill and a certain – I would say [almost] Rounwythic – constitution. Because by definition and at the most advanced level, there are no gods, dates, holidays, or other meaningful correspondences. One has to make their own [through the malleability and “openness” of these condensations]. And this symbolic condensation is quite nameless, quite wordless, in the act itself. Which in my opinion and experience makes chant magick one of the most powerful types of magick, [capable of tremendous energy, direction, and adaptation to any form of chaos]; [capable, in turn,] of reaching the Aeonic level.

Nameless Therein
Scothorn Nexion
April 9, 2022

ADDENDUM: GETTING STARTED WITH ESOTERIC CHANT MAGICK

For those interested, there are many ways to begin learning chant. Other than various online resources, including the instruction manual by Fr. Columba Kelly provided in the first endnote below, the best way to start, as with all music, is to use your ear: listen. Listen carefully, thoughtfully, and actively, as many times a day and as often as you can. Repetition is the key to many mysteries; and chant magick is no exception. There is much to observe in listening: the movement of the melody, the structure of the chant, where to hold notes, how to enunciate and project properly, as well as breathing and breath control. Once you have listened carefully for some time, the next step is to try to imitate what you are hearing, trying to match your performance to the original as closely as possible through continual practice and repetition. After you have spent some time singing along, start looking at the chant notation while you sing to try to understand what certain symbols and notes mean. Once you have done this for some time, supplement your eyes, ears, and voice with a more detailed study of the notation itself using an instruction manual. There are further resources at the bottom of this addendum to assist with this.

To get started, I suggest beginning with the main ONA Septenary chants, which are simpler than some of the more advanced ones, such as the Dark God chant arrangements below. The main ONA Septenary chants will provide a basic familiarity with the energies of each of the spheres on the Tree of Wyrd and will provide a framework to learn and construct more advanced sequences. Below are some resources to get started.

Once upon a time, I learned the main ONA chants from the old Chant of the ONA cassette, released by MMP Temple. Most people have digital versions of these and they are not hard to find. Currently, they can be accessed here, for example:

There are, however, mistakes in some of these performances. I corrected these in the versions found in my “Dark Gate” sequence. This can be used to practice the main Septenary chants (and I recommend these over my older versions of the chants). It should be noted that this sequence includes the first public recordings of the chants for the Star Gate (“Chant to Open a Star Gate”) and Dark Angle or Man’s Gate (“Chant to Return Atazoth to Earth”), which are advanced and difficult to learn (having taken me many years to decipher, learn, and then finally record and release). They are required and important for more advanced chant sequences, being two of the most powerful, dangerous, and magickally significant chants:

When one gains more experience and familiarity with the main chants, they can move on to experiment with more difficult chants, such as the arrangements I did for each of the Dark Gods. Though I will not elaborate on how to use these in detail here, the most basic approach involves substituting Dark God chants for specific Septenary sphere chants in a given sequence or series of sequences to generate a specific type of acausal energy. (These can follow a specific pattern determined by the cantor according to, e.g., a “magickal algorithm”; or they can be completely random, to list just two examples.) For example, the “Agios Kthunae” chant could be substituted for the “Agios Alastoros” chant for Mars in a given sequence to target a specific aim, goal, energy, attribute, or desire. The Dark God chants can be found in the following playlist:

Other chants, such as the chant arrangements I did for those listed in the ONA’s Black Book of Satan can be found through the following link. These can be used to generate specific types of energy, usually of a sinister or “Satanic” nature:

Finally, some of the advanced chant magick techniques I alluded to in this article are demonstrated in the following chants I composed. These are but an introduction to the many possibilities of such techniques:

Additional chants can be found on my youtube channel:

https://www.youtube.com/channel/UCsERKck5lRE0rL8h_q2nDXA

It should be noted that chant can be used for more subtle forms of magick, such as internal and external magick. These can take the form of devotional, contemplative, reflective, or pensive exercises aimed at creating or projecting a certain type of energy generated from a “mood” or “disposition.” These require a different approach to creating and layering meaningful associations, which I will not go into here. My chant composition for David Myatt’s c. 1986 poem, “In the Night,” is one such example:

More resources can be found within the ONA for guidance. I may create a more detailed list in the future. For now, I suggest NAOS: A Practical Guide to Modern Magick for the beginner, which provides some basic instructions to get started. The Hostia texts and some of the old Fenrir editions under Christos Beest provide more advanced guidance for the discerning reader.

A helpful resource outside of the ONA can be found at Corpus Christi Watershed. The Saint Antoine Daniel Kyriale performances are accurate and are an excellent place to start:

https://www.ccwatershed.org/gregorian/

https://www.ccwatershed.org/2014/04/25/st-antoine-daniel-kyriale/

NOTES

[1] See Fr. Columba Kelly, “Part 2: Chant is ‘Sung Speech’,” in Singing Chant: Latin and English: A Performance Manual (Indiana: Saint Meinrad Archabbey, 2016). I consulted this text for many years in learning chant. It is a great resource and reference manual. The text can currently be found in its entirety at the following location: https://www.saintmeinrad.org/media/1387/chant_manual03.pdf

[2] Friedrich Nietzsche, The Birth of Tragedy, in Basic Writings of Nietzsche, ed. and trans. Walter Kaufmann (New York: The Modern Library, 2000), 55-56. One must be very careful here, as making sense of what this passage means requires carefully navigating Nietzsche’s analysis of the Dionysian and the Apollinian, in addition to understanding the distinctions he makes between epic poetry, lyric poetry, art, and music in relation to these. See, for example, Nietzsche’s characterizations of the “plastic artist,” the epic poet, the Dionysian musician, and the “lyric genius” on p. 50. See also p. 49, where Nietzsche discusses the taking for granted of the union or identity “of the lyrist with the musician” in relation to ancient lyric poetry.

[3] Nietzsche, Birth of Tragedy, 38.


Tangible ends

Posted: March 19th, 2022 | Author: | Filed under: Acausal Theory | Tags: , , , , , , , , , , , , | Comments Off on Tangible ends

He turned around the corner from the office building of the Ministerio del Interior and headed towards his luxury apartment in Buenos Aires. The air of the metropolis seemed especially beneficent today, and Operative 093, a.k.a. “Fernando”, happily inhaled the pollutants that laced the atmosphere. Every person he had interacted with for the last ten years seemed to breathe life into the present he was now stepping into.

His, too, was more than a work of art. Not quite as grand a creation as the state of Israel, but similar sacrificial and psychical methods had been used in bringing it about. Fanatical National Socialists had been mercilessly removed from the Patagonia area by the hand of professional military personnel carrying out the orders of the Argentinian and Chilean governments. Their pointless complot, blind resistance, and violent deaths had paved a path of skulls towards his crowning achievement. This was what the soil cried for. This was exactly what made the grass grow.

His glory would be enjoyed from the solitude and darkness, he thought, in some retreat in the Caribbean after his work was done. For this, he had already set aside a completely legal account in the Cayman Islands through a diversified permanent portfolio. Neither personal fame before the mundane nor illegal means had been in any way necessary for the attaining of Aeonic sinister goals. Steady, step-wise acquisition of influence and worldly power, however, was the most straight-forward and obvious path.

He stepped into his high-end apartment, enjoying the air that the sober, lean, modernistic lines with which it was furnished imparted him. He thought briefly of the traditional mystics crouching in rundown cottages, scribbling away in impenetrable philosophical language and issuing dozens upon dozens of documents filed away by some, read by few, and understood by even fewer who would never make a difference upon the world. He shook his head, chuckling, and heaved a heavy sigh. Hanging on the wall was the law degree he had earned twenty years ago, and how that had been the beginning of a long career culminating in influential posts within the Argentinian government.

With the help of other associates in the Argentinian and Chilean governments, and without needing to infiltrate the army at all since the army wields no executive power whatsoever, an autonomous region was created within the Patagonia area with the express purpose of conducting a long-term social experiment. Herein, it was granted power and advanced technological means to a select group of families previously nominated and screened by the secret group of associates to live outside the norms and laws of South American society. Furthermore, technical advice and economic aid would be forthcoming from both governments to assist towards cultivating a new way of life and its viability for the future. Therein, they would be allowed to practice the religion and customs of their choice.

He walked into the darkest room in his house, purposely darkened and dedicated to his dark meditations. These consisted of wordless concentration. No sigils were ever used, nor candles lit. No names were summoned. Only a single-pointed power that emanated from him, a power fed in turn by all those who served his will. Worlds upon worlds took shape therein.

For years he had come into this room and seen the silent bloodshed that was now still taking place in removing from the area the last specimens of an obsolete phalanx of ideologically-obsessed pawns. Their ill-begotten leaders were now kept in black sites, the contents of their fanzines and the nature of their fetishistic altars tortured out of them by intelligence officers that would never comprehend or accept the answers given them and who would carve their own trapezoidal sigils into the flesh and psyche of their victims.

For years he had stood still for hours on end breathing life into the now-solidified vision of high-tech sustainable abodes that would house the Internal Adepts and their families who would form the rank-and-file of the autonomous region. The orchestrators would remain unnamed, retiring into peace and luxury, pulling the strings only by whispering through networks of connections cultivated through years of patient work.

Today his work had come to full fruition. He felt the rush of energy, the returned shockwaves of his actualized vision filling him, making him grow even stronger. He was here yet he was also there. And that same night an airborne disc-like shape haunted the fjords of the autonomous region of the Patagonia, raising alarms as it was seen by the naked eye of military personnel and radar alike. He would then pay one last visit to the warm oases of Antarctica and commune with the presence that there abides before leaving his beloved Buenos Aires.

https://archive.org/details/GregorianChantMass/

 

Clarice

Nexion of Ur

Patagonia


Aeonic aims of the ONA

Posted: March 15th, 2022 | Author: | Filed under: Acausal Theory, Alchemy, David Myatt, Fenrir, Inner ONA, National Socialism, O9A, O9A Nine Angles, Occultism, Order of Nine Angles, Order of the Nine Angles, paganism, Politics | Tags: , , , , , , , , , , , , | Comments Off on Aeonic aims of the ONA

[Reposted here: https://luxlycaonis.com/index.php/2022/03/18/aeonic-aims/]

In response to Clarice and in an effort to halt any tensions between us, what follows is an excerpt from a dialogue we had concerning the aims I hope to see realized collectively with respect to the future of the ONA. While many will not agree with what is expressed here, I think it may help clarify some of the motivations behind Fenrir. Additionally, I should note that I consider my personal desires, aims, and “vision” irrelevant to the ONA. Whatever emerges beyond our lifetime must realize itself organically through forces that are out of our control. I realize that it may be possible to influence these in our lifetime; but I sense that we are rarely in control of the actions that catalyze this influence.

[My purpose] is motivated by the … [original aims] of the Old Guard: to enact the conditions for the possibility of long-term and concrete Aeonic change across the world – both as a practical strategy for future generations, as well as those within our lifetime. This purpose is informed by my history in sinister and Satanic magick, my experiences through the Grade Rituals and alchemical transformations of the Seven-Fold Way, the insights I have gained from those experiences, the conversations I have had with some important associates of the ONA, and my desire to see an end to the current narrative of extremism and radical politics, which I think has become self-destructive toward these aims. If we are to take the notion of [the transitory nature of] “causal forms” seriously, which includes that of radical political ideologies like National Socialism, there cannot be a double-standard.

In reviewing some of my recent writings, a friend of mine from a known Italian Nexion remarked that “what is happening suggests that the O9A might be using its own disruptive evolutionary techniques on itself,” which is … [an accurate observation]. My practical aim here is to [aid in restoring] a positive image of the Order of Nine Angles in the public eye, [to help filter out] those who are detrimental to its survival and aims, and to redirect the negative attention it has received in order to create the necessary conditions for transparent Aeonic change.

The other side of this purpose concerns practical techniques that can aid in the devotional practice of sinister magick across a wide spectrum. Aside from my work in esoteric chant … [both myself and contributors on the Fenrir team] hope to introduce techniques that can, in combination with some of the “contemplative” ideas I will introduce, be layered into unique and more powerful systems – all with the aim of Aeonic magick in mind. With respect to Fenrir … [we aim to] create a true dialectic (though I have issues with that term): contemplative, “numinous” scholarship addressing the higher three Septenary spheres (past the Sun), and techniques of practical Sinister magick [introduced by other Adepts in the ONA] to guide those who resonate with the lower three “sinister” spheres. The alchemical unification of these at an internal level in the ONA, collectively and across history to ensure its survival and growth – in this way, the gun is loaded.

All this is well and fine. But Clarice importantly remarked that it is hard to see a “tangible end” to this desire for long-term Aeonic change. In turn, she posed the following question:

So, we ask again, if you could show us a video-recording of the Aeonic change already having changed this inner society of individuals, what scenes and personalities would we see in that “movie”?

From a place of sincerity and honesty, my answer comes from instinct, as instinct has always guided everything I do and say, including my thought. My answer is this: We would see scenes of deep compassion, a mutual desire to uphold the lessons derived from meaningful tragedy, a profound intimacy shared between us from that understanding, and a stillness and silence content with the majesty and beauty of this world. I think more than anything, we would see love, which to me is profoundly heroic. This would not be a society of philosopher kings but of heroes. We would find fathers and mothers, sons and daughters. We would see the value in family and a simple way of living. We would share in the joy of this unique existence and treasure the time we have together. This is my vision of that Aeonic change. If this was a movie, it would be Andrei Tarkovsky’s Andrei Rublev or the Czech masterpiece, Marketa Lazarová. That change is perhaps best summarized in the following vision from Major Briggs to his son Bobby in David Lynch’s Twin Peaks, which applies powerfully to the ONA:

May I share something with you? A vision I had in my sleep last night – as distinguished from a dream which is mere sorting and cataloguing of the day’s events by the subconscious. This was a vision, fresh and clear as a mountain stream – the mind revealing itself to itself. In my vision, I was on the veranda of a vast estate, a palazzo of some fantastic proportion. There seemed to emanate from it a light from within – this gleaming radiant marble. I had known this place. I had in fact been born and raised there. This was my first return, a reunion with the deepest wellsprings of my being. Wandering about, I was happy that the house had been immaculately maintained. There had been added a number of additional rooms, but in a way it blended so seamlessly with the original construction, one would never detect any difference. Returning to the house’s grand foyer, there came a knock at the door. My son was standing there. He was happy and care-free, clearly living a life of deep harmony and joy. We embraced – a warm and loving embrace, nothing withheld. We were in this moment one. My vision ended. I awoke with a tremendous feeling of optimism and confidence in you and your future. That was my vision: it was of you.

As a response to this vision – and to the “vast estate” it refers to – and being first and foremost a musician, I think its application to the ONA can additionally be illustrated through music. Music alone can express what in speech must remain silent. And silence is the creative foundation for all music. The following song, and particularly the lyrics, perhaps better express what I’ve said above (and to be clear, United Bible Studies has no affiliation with the ONA and has spoken out firmly against it). It has had a powerful influence on my thinking over the years, and speaks to the mystery at the heart of the Order of Nine Angles:

When I was born, my father said to me:
The room in which I was born
was not what it seemed

It had a coffee pot,
a cat,
and some shadows

I asked what he meant, and he said:
Do you mean –
The room in which you were born
is not what it seems?
It was built ten long years
after when you were born

I said: what do you mean?
The room where I was born?
I recall his cold eyes
as he revealed this truth to me:

My son, it’s a shameful secret
spoken in the room where you were born,
which was itself born after me,
which I believe makes me unborn –
Unborn
Unborn

Though I think this vision may not be attainable – perhaps closer to something like a regulative ideal – the sentiment it expresses may serve to balance the other side of the ONA’s dialogue, directing us toward a future end that cannot possibly be known. My hope is that this is not an end, but merely a beginning.

Nameless Therein
Scothorn Nexion
March 15, 2022
2775 ab urbe condita