SIGNAL: a book of secrets

SIGNAL is a book made of other books.

It’s a compilation of secrets from various occult texts that I found in my time as librarian of witch camp.

This book may be dangerous. See disclaimers¹.

SIGNAL is a dictionary-dream, a catalog for an ethereal Library, a virus of language. It may be read front to back or side to side.

Built using bibliomancy and sortilege while encamped atop a remote mountain. Known to have an indelible effect on the mind of the reader.

Download SIGNAL in PDF here. Best read in physical format. To print, set full-page duplexing.

The following is a transcription of the book by intelligences that at the time seemed unconceivable.

001

The page is predominantly white with black text centered on the page. At the top, the word “[SIGNAL]” is displayed in a bold, uppercase serif font, enclosed in square brackets. Directly beneath it, the phrase “a book of secrets” appears in a smaller, lighter serif font. The text is arranged vertically, with the title above the subtitle, both centered. The overall layout is minimalist and symmetrical, with ample white space surrounding the text. There are no other elements, illustrations, or decorative features on the page.

[SIGNAL]
a book of secrets

002

The page displays a flowchart-like instructional sequence printed in black text on a white background, with some text appearing blurred or smudged. At the top, the word “START” is followed by a downward arrow. Below that, the text reads “HAVE YOU STUDIED INSTRUCTIONS?” with an arrow leading to “NO → Go” on the right, and below that, the word “back and study” is partially visible. Underneath, the text continues with “YES” followed by a downward arrow. Further down, the question “IS YOUR MATTRESS COMFORTABLE?” appears, with a rightward arrow leading to “NO → Get a new mattress” and “YES” followed by a downward arrow. The text is heavily distorted, with misspellings such as “STUDIED” instead of “STUDYED,” “MATTRESS” instead of “MATTRESS,” and “COMFORTABLE” instead of “COMFORTABLE.” The overall layout is a step-by-step guide with conditional paths indicated by arrows and yes/no responses.


START
↓
HAVE YOU STUDIED INSTRUCTIONS? → NO → Go
back and study
YES
↓
IS YOUR MATTRESS COMFORTABLE? → NO → Get a
new mattress
YES
↓

003

This is a black-and-white page from a grimoire titled “Basic Alchemy,” subtitled “Construction of a Transmutation Circle.” The page contains a numbered list (1–9) with accompanying diagrams and explanatory text for constructing alchemical transmutation circles. Each numbered point includes a simple line drawing and a description of its symbolic meaning in alchemical practice. The diagrams show various geometric shapes and symbols, including circles, triangles, intersecting circles, arrows, nodes, and oval shapes. The text is informal and occasionally contains typos and inconsistent phrasing, such as “array,” “transmutation,” and “transmute.” The final point (9) includes a small circular emblem at the bottom center, possibly a watermark or publisher’s mark. The overall layout is instructional, with a mix of visual diagrams and narrative text.

Basic Alchemy

Construction of a Transmutation Circle

The first thing you need to worry about is what you are going to transmute or how your array is going to function. From there It would be wise to start with a basic like what’s below…

The circle. It is like the thing that makes alchemy what it is. The circle represents a balance of power and a steady flow of the power. It is best you draw your circle perfectly, otherwise, the reaction will go haywire.

This little beauty means that the reaction will take place within the array and will be kept steady. Now the shape doesn’t always have to be a triangle. It can be any shape so long as it has meaning the transmutation.

When the shape extends beyond the walls of an array, that means that the reaction will be taking place outside the array. This comes in handy when building walls and such.

When the shape extends outside one circle, but stops at another, that means that the transmutation will extend to the next object. Say you were trying to fix a toaster. Well your technically fixing an object outside the array, but you need to contain the reaction. That’s when you use this.

If you need to focus the reaction outside an array into a specific direction, you draw an almost arrow like V in the array. This will force the reaction in the direction of the vertex.

With some transmutation circles, you must have specific ingredients. Well you don’t just throw all the ingredients in the center and transmute! You sort them out by putting then in a section. The little circles you see around the edges are perfect for that. By writing a symbol in a smaller edge circle, you specify either an element or an instruction that will be used within the transmutation.

I hear these things called nodes all the time, so we shall call them just that. The node are use to inject or remove a substance into or out of the transmutation. When used to add, the substance is usually burned as fuel and is seldom part of final product. This can be changed to fit the format of the edge circle things above in the instruction of your array. Now if you are pulling something out, the node should look more the individual node you see. And oval shape will aid in the ejection and the edge circle thing will have the substance you are tossing.

Instructions are a big part of transmutation circles. While the aren’t always needed on smaller, more specific arrays, they are very nice for transmutations that need instructions for a good final product. The instructions are usually coded in an alchemic text. This make its look pretty, but it leaves room for people to just type random crap (not recommended)

004

The page displays a flowchart titled “Figure 4.3 Flow Chart of Steps to Astral Travel” at the bottom, with a numbered list of steps from 4 to 17. Each step is presented as a conditional decision, with “YES” and “NO” branches leading to specific actions or next steps. Step 4 asks if the area is secure, with a “NO” leading to arranging a secure area. Step 5 asks if the mind is at ease, with a “NO” leading to preparing a worry list. Step 6 asks if a trial run has been completed, with a “NO” leading to making adjustments and completing a trial run. Step 7 involves defining a meditative goal, with options including inner serenity, spiritual serenity, getting answers to questions, and astral travel, leading to Step 8. Step 8 asks if the user’s needs have been satisfied, with a “NO” leading to satisfying those needs. Step 9 asks if the user has completed protection, with a “NO” leading to establishing a key signal. Step 10 asks if the key signal has been established, with a “NO” leading to establishing it. Step 11 asks if the user is relaxed, with a “NO” leading to returning to appropriate steps. Step 12 asks if astral travel has been completed, with a “NO” leading to returning to Step 12. Step 13 asks if the user has returned from astral travel, with a “NO” leading to returning to astral travel. Step 14 asks if the user has remelded ‘I’ and ‘Me’, with a “NO” leading to writing down experiences. Step 15 is a stop, asking to write down experiences. The text is formatted as a flowchart with arrows and conditional statements, guiding the user through a process of astral travel and related meditations.

Figure 4.3 Flow Chart of Steps to Astral Travel

005

The page is a grimoire-style instructional guide titled “TRANSMUTATION CIRCLES,” divided into three parts: “PART TWO: FORM AND SYMBIOLOGY,” “PART THREE: DRAWING TRANSMUTATION CIRCLES,” and a concluding section on physical drawing. At the top, a grid layout contains step-by-step instructions for drawing transmutation circles, each accompanied by diagrams. On the left, a series of figures—Figure 1: Aristotle’s Elements (a four-element circle with directional arrows), Figure 2: Crucible Circles (12 symbols representing elemental and metaphysical forces), and Figure 3: Bracing (various geometric configurations for structural reinforcement)—are illustrated with labels and descriptions. Below these, the text elaborates on the symbolism and use of script in transmutation circles, noting that the primary purpose is often to confuse or mislead. The main body of the page details 13 steps for creating a transmutation circle, from deciding the circle’s function (e.g., creating bronze) to adding functional symbols and words for distraction. Each step includes a visual diagram with annotations, such as the use of a polygon tool, stroke lines, and directional guidelines. The bottom section discusses physical drawing techniques, emphasizing the use of organic ink and clockwise motion for drawing, and includes a note on the visual representation of circles in books versus actual physical practice. The page is densely packed with both text and diagrams, all presented on a grid background, with corrections and notes scattered throughout to clarify steps and improve accuracy.

TRANSMUTATION CIRCLES

PART THREE: DRAWING TRANSMUTATION CIRCLES

FIGURE 1: ARISTOTLE’S ELEMENTS

THIS SIMPLIFIED VERSION OF THE ELEMENTS SHOWS THE TYPICAL RELATIONS BETWEEN THE FOUR ELEMENTS AND FOUR FORCES. IT IS USED TO SHOW, BY PLACING SYMBOLS OF MATERIALS WITHIN THE CIRCLE, HOW THE MATERIAL FUNCTIONS - AND TO A LIMITED EXTENT FORMULAS. IT IS USUALLY A USED AS A GUIDE SINCE ARISTOTLE DIED ABOUT 2300 YEARS AGO, I THINK THE COPYRIGHT & FAIR USE IS JUSTIFIED.

FIGURE 2: CRUCIBLE CIRCLES

CRUCIBLE CIRCLES ARE THE BASIC CIRCLE USED FOR INSTRUCTION AND INVOCATION. LIKE THE ALCHEMICAL SYMBOL FOR CRUCIBLE, IT IS THE FORM OF THE FOCAL LINES WITHIN THE CIRCLE AND DETERMINE THE ACTION TAKEN. THE FOCAL LINES CAN TAKE MANY FORMS, LARGELY BASED ON THE ELEMENTS BEING USED - BUT CAN ALSO DELVE INTO THE REALMS OF METAMAGIC AND SPIRITUALISM.

SHOWN ARE THE 12 MAIN CRUCIBLES. SOME SYMBOLS, SUCH AS THE MARK “Z,” FOR ELECTRICITY CAN BE MADE INTO HOLLOW SYMBOLS TO FORM NEW CRUCIBLES. BUT FOR NOW WE WILL CONCERN OURSELVES WITH THE BASIC 12:

AIR - FOR MELTING/FUSING
FOR BREATHING/ACTIVATION.
EARTH - FOR STONE/METAL
WATER - FOR ALL FLUIDS
CREATION - FOR MAKING THINGS OUT OF RAW MATERIALS.
TERRA - FOR SOILS/FERTILITY/LIFE MANIPULATION.
HEVA - FOR SOUL/SPIRIT
TRANSMUTATION.
META - FOR TRANSMUTATIONS HAVING TO DEAL WITH MULTIPLE MATERIALS.
STRUCOTA - FOR MANIPULATING MATERIALS TO A PRECISE DEGREE.
FLAME - FOR PURIFICATION AND DESTRUCTION.
DEATH - TO DECREASE MOTION TO ZERO. ABSOLUTE ZERO WITHOUT FREEZING.
LIFE - TO INCREASE OR INSTILL MOTION.

FIGURE 3: BRACING

IN THE CREATION OF A CIRCLE, ON OCCASION, ONE WILL HAVE TO REINFORCE THE FIELD SO AS TO KEEP THE REACTION WITHIN THE CIRCLE AND PROPERLY FOCUSED. THIS IS WHERE MULTIPLE CIRCLES, AND EVEN LINES OF SCRIPT, COME INTO PLAY. BRACING COMES IN THREE TYPES: HOLDING - WHERE THE BRACING IS MERELY MEANT TO HOLD IN THE REACTION, FOCUSING - WHERE THE REACTION IS PUSHED OR SQUEEZED INTO THE CENTER OF THE CIRCLE, AND LASTLY, REDIRECTING - WHERE THE MATERIAL WITHIN IS MOVED ABOUT WITHIN THE CIRCLE.

AND LASTLY, A WORD ON THE USE OF SCRIPT. SCRIPT ON A TRANSMUTATION CIRCLE SERVES ONE OF THREE PURPOSES; TO TELL SOMEONE HOW TO USE IT, TO BE A NON-SPoken INCITATION OF A SPELL OR COMMAND, TO LOOK AWESOME AND CONFUSE PEOPLE. MORE OFTEN THAN NOT, THE ACTUAL CONTENTS AND MATERIALS BEING TRANSMUTED WILL BE REPRESENTED AS A SINGLE SYMBOL, SO ANY LONG LINES OF TEXT ARE USUALLY THERE BECAUSE IT WILL GARNER MORE ATTENTION THAN A SINGLE RUNE, SIGIL, SYMBOL, OR WEIRD LITTLE MARK; THUS MISLEADING THOSE WITHOUT THE KNOWLEDGE OF THE SYMBOL’S MEANING. THE ART OF ALCHEMY IS MOSTLY ENCODED - OTHERWISE EVERYBODY WOULD BE CLAPPING THEIR HANDS TOGETHER AND GETTING A PORSCHE AND A PILE OF GOLD TO SIT UPON.

STEP 1: DECIDE WHAT YOUR CIRCLE DOES. IN THIS CASE, I HAVE CHOSEN A SIMPLE TIN & COPPER COMBINER TO MAKE BRONZE.

LAY DOWN A GRID OF YOUR CHOICE AND PUT DOWN A CENTER GUIDE.

WITH THE CIRCLE PATH TOOL, STROKE PATH WITH A PLEASING LINE WIDTH.

ALL STEPS ARE A NEW LAYER. MERGED DOWN WHEN NEEDED TO FORM CONSTANT SHAPES.

STEP 2: PUT DOWN A HOLDING BRACING OF THE SAME LINE THICKNESS.

STEP 3: SINCE WE WANT OUR BRONZE TO BE THE VERY BEST ALLOY, WE PUT DOWN A STRUCOTA TO FOCUS THE FORCES AND MAKE THEM MORE PRECISE.

SET THE POLYGON TOOL TO 6 SIDES AND STROKE WITH SAME THICKNESS OF LINE.

CORRECTION:

I’d like to point out that the triangles in step 4 should be inverted, otherwise they represent air and water, not fire and earth. Lack of sleep.

STEP 4: POWERING IT UP. SINCE WE ARE WORKING WITH METAL, WE NEED TO HARNESS FIRE (RED) AND EARTH (ORANGE), AS YOU CAN SEE, THEY NEST QUITE WELL SINCE THEY ARE COMPLEMENTARY ELEMENTS.

SET POLYGON TOOL TO 3 SIDES AND MAKE TWO TRIANGLES. ADD LINE WITHIN INNER CIRCLE THROUGH EARTH TRIANGLE STROKE WITH SAME THICKNESS OF LINE.

CORRECTION:

I’d like to point out that the triangles in step 4 should be inverted, otherwise they represent air and water, not fire and earth. Lack of sleep.

STEP 5: KEEPING YOUR FACE ON YOUR SKULL. WE NEED SOMETHING TO NOT ONLY APPLY PRESSURE TO THE REACTION, BUT TO KEEP THE HIGH PRESSURE GASES AND HEAT IN THE CIRCLE. FOCUSING BRACING IS THE MAN OF THE HOUR.

CREATE A CIRCLE WITH THE SAME LINE WEIGHT AT THE TOP. COPY THE LAYER, TRANSFORM, MOVE THE CENTER TO THE CENTER OF THE MAIN CIRCLE. ROTATE 120°, DUPLICATE AGAIN AND ROTATE THE OTHER -120°.

STEP 6: PUTTING IN ADJUSTMENT POINTS. THESE WILL PUT A “COMMAND” ONTO THE MATERIAL BEING PROJECTED BACK INTO THE CIRCLE.

STROKE TWO CIRCLES WITH A LINE WEIGHT OF YOUR CHOICE WITHIN THE CIRCLES MADE IN THE LAST STEP THEN DELETE THE EXCESS.

STEP 7: PUTTING IN THE OPERATIONAL NEXUS. HERE WE HAVE THE PROMARY EFFECT AREA, ALSO KNOWN AS THE SIZE OF THE CIRCLE SINCE WE ARE GOING TO COMBINE COPPER AND TIN. WE NEED A PLACE FOR EACH AS WELL AS A SPACE AT LEAST TWICE THEIR AREA TO RECEIVE THE PRODUCT.

STROKE TWO CIRCLES CENTERED OVER THE JUNCTION OF THE MAIN ELEMENTAL FOCAL LINES AND ONE IN THEIR CENTER. CONNECT THE THREE WITH 1, 2, OR 3 LINES. LINE WEIGHT IS TO TASTE

STEP 8: TAKING IT FOR A SPIN. TO ASSURE THAT THE TIN AND COPPER ARE FULLY AND FINELY COMBINED, WE WILL SWIRL THEM TOGETHER WITH REDIRECTING BRACING.

STROKE TWO CIRCLES AT 90° TO THE PRIMARY STAGE LINE WEIGHT IS BEST AS HEAVIER BUT CAN BE MULTIPLE LINES TOO.

STEP 9: CLEANING UP THE REDIRECTING BRACING.

DELETE EXCESS FROM CIRCLES TO FORM TWO OR MORE GRACEFUL ArcS.

STEP 10: ADDING BALANCERS. ADDING A LINE TO THE EARTH ELEMENT WILL HELP KEEP THE METAL IN A METALLIC STATE. WHILE ADDING A SECOND FIRE ELEMENT WILL SLOW DOWN THE BRONZE’S COOLING SO IT DOES NOT CRACK OR EXPLODE.

STROKE A TRIANGLE AND LINE IN A FINER LINE WEIGHT.

STEP 11: ADDING THE FUNCTIONAL SYMBOLS. STANNUM (JUPITER) FOR TIN AND CUPRUM (VENUS) FOR COPPER ON THE STAGE. THEN ADD THE SYMBOLS TO SUBLIMATE COMBINE, AND STRENGTHEN WITH LION’S STRENGTH.

GET OUT YOUR SYMBOL FONT AND HAVE AT IT.

STEP 12: ADDING WORDS THAT SEEM TO MEAN SOMETHING, BUT ARE ACTUALLY INTENDED TO DISTRACT OR MISLEAD MORE OFTEN THAN ANYTHING ELSE. IN THIS CASE, I USED A RANDOM LATIN SENTENCE THAT KIND OF HAD TO DO WITH THE THEME.

PICK A COMPLEMENTARY FONT AND WRITE SOMETHING LATIN, ANCIENT GREEK, ENGLISH. ANY LANGUAGE WILL DO. THE MOST IMPORTANT THING IS THAT EVEN IF YOU USE A SYMBOLIC OR FANTASY FONT, THAT IT ACTUALLY SAYS SOMETHING. PEOPLE ARE TRAINED TO SEE WORD PATTERNS IN READING, SO THEY CAN OFTEN SUBCONSCIOUSLY PICK UP ON RANDOMNESS AND THE EFFECT FAILS TO ACCOMPLISH THE GOAL OF DISTRACTION.

STEP 13: FINISHED CIRCLE. GET SOME TIN AND COPPER, FIRE THAT SUCKER UP.

USUALLY I DO NOT MAKE CIRCLES THIS SMALL - THIS WAS DONE WHOLLY FOR THIS ONE TUTORIAL, NORMALLY, LIKE ANYTHING DONE IN PHOTOSHOP OR GIMP. THE LARGER THE BETTER AS IT TENDS TO LESSEN AND MINORIZE THE APPEARANCE OF SMALL MISTAKES AND INCONSISTENCIES THAT POP UP WITHIN THE APPLICATION. I PREFER 1200, 2400, AND 4800 SQUARE CANVASES.

BRINGING YOUR TRANSMUTATION CIRCLES OUT OF THE DIGITAL REALM

THE UNDERLYING RULES OF THE STRUCTURE OF TRANSMUTATION CIRCLES STAYS THE SAME REGARDLESS OF HOW THE CIRCLE IS MADE. THERE ARE, HOWEVER, A FEW RULES THAT APPLY TO PHYSICALLY DRAWN CIRCLES.

FIRST ARE THE MATERIALS: A TRANMUTATION CIRCLE, AT LEAST A FUNCTIONAL ONE. SHOULD ALWAYS BE DRAWN WITH AN ORGANIC OR TRANSORGANIC SUBSTANCE. THE INORGANIC INKS AVAILABLE IN MOST COMMERCIAL WARES, JUST WILL NOT DO. A NATURAL INK MADE OF SOUD INK, SEPIA (BARK), OR SUCH IS PREFERRED. BOTH FROM A METAPHYSICAL STANDPOINT AND A FLOW STANDPOINT. TRANSORGANICS ARE THINGS SUCH AS CHALK. SINCE IT IS MADE OF THE CALCIFIED CORPSES OF PLANKTONIC LIFEFORMS.

SECONDLY ARE THE DIRECTIONS: THE MAIN CIRCLES MUST BE DRAWN IN A SMOOTH, CLOCKWISE MOTION. POLYGONS MUST BE DRAWN FROM THE FARTHEST POINT TO THE RIGHT OF THE CIRCLE. THEN TO THE NEXT FARthest RIGHT, AND FROM THERE ON IN THE DIRECTION, CLOCKWISE OR COUNTERCLOCKWISE. TO COMPLETE THE SHAPE, TAKE A PAINTBRUSH, CALLIGRAPHY STYLUS, OR BRUSH PEN AND TRY IT. YOU’LL SEE HOW THE LINES FORM AND WHY DOING IT IN THIS METHOD IS BOTH PROPER AND SIMPLY END UP LOOKING ‘RIGHT’.

AND JUST AS A RELATED SIDE NOTE, THIS IS WHY IN FULLMETAL ALCHEMIST ED WAS NOT SETTING OFF THE CIRCLES IN THE BOOKS HE READ RIGHT AND LEFT. THE CIRCLES IN THE BOOKS WERE INORGANIC INK PRINTED BY ROLLING STOCK PRINTERS, AND THIS WOULD HAVE BEEN WHOLLY NON-FUNCTIONAL AS ACTUAL CIRCLES.

006

The page is a two-column layout with a central horizontal line dividing the top and bottom sections. The top section contains two columns of dense, vertically aligned text labeled “Inner Form:” and “Outer Form:”, each with a series of ritualistic phrases and formulaic declarations. Beneath the horizontal line, the bottom section features a large, black-and-white line drawing of a winged, horned figure holding a staff and a curved blade, positioned to the right of the text. To the left of the illustration, a block of text is arranged in a left-aligned, vertically stacked format, starting with “In the Name Unknown of the First of Witchblood,” followed by a list of names and titles in a stylized, ritualistic script. The entire page is bordered by a thin black line, and a small emblem or sigil is centered beneath the illustration. The text is presented in a formal, dense, and ornate style, consistent with esoteric or occult literature.

In the Name Unknown of the First of Witchblood,

Blessed be mine Eyes that they may witness the First Vision, become strong in the Power of the Sight, pierce the Veils and Fetters of Time, and be witness unto the Fire of the One Spirit.

Blessed be my Hands that they may fashion the Houses of the Gods, that they may touch and hold the Beloved in Worship, open all Gates and bring forth Truth, and show forth the Fivefold Sign of the One Spirit.

Seed of I at this Instant become:

Point become Space; mine own Form unfold.

Prototype of all Sorcery dreamt, in Man become manifest; Lowest root become highest bough; Star in Heart ignite!

THE FORMULAE OF THE SECOND HOLY LETTER,

BY WHOSE POWER THE SECRET INTERPRETATION OF ALL MYSTERIES IS KNOWN UNTO THE BODY OF THE CULT

Hekas Hekas Este Bebeloi.

Zazas Zazas Nasatanata Zazas.

Protos Eos Mii.

Nama Weica Aster,

Nama Hekau Ashemu Sek. Xenar, Xenar, Xenar, Xenar.

Abra-Khu-Zraa

Zsin-Niaq-Sa.

Aiozs-Zoias.

A TRANSLITERATION OF THE FORMULAIC SPELL, TOGETHER WITH A DETAIL OF THE COGNATE RITUAL PROCEDURES OF THE SABBAT (THIS BEING SUCH KNOWLEDGE AS IS REVEALED IN THE ARCANUM OF THE SECOND HOLY LETTER)

Inner Form:-

I: Unto whom All is aligned in Perfection; revealed is Thine Arcanum.

Witness art Thou to Thine own Light who knoweth Thyself in Darkness. Imperishable Star! In whom the Convocation of the Sabbat is focused, from whom all Magical Power proceeds.

Thy Fivefold Sign shineth in the Four Paths of the Cross and uniteth the Eight Paths of the Sabbat - Thy One Sigil bindeth the Whole.

In Thy Fourfold Name are hidden the Mysteries of Congress: the Secrets of Creation, Uncreation, Excreation, and Increation.

All Futurity and Antiquity of mine own Being unto I be here aligned. In Thee, Autochthonic and Aethyric, the Geninus of Zoa and Azoa is united.

Concealed is Thine Arcanum: ZO-I-AS.

In the Pleasure of Thee, Now as in Eternity - the Sole Reality: I.

Outer Form:-

Be ye far from here all ye profane = Naught be banished but All re-aligned unto mine Intent and Will.

The Gates of Hell be open! = Let the Way of That which is Hidden here be revealed.

Witness am I to the Dawn of my own Light!

Behold! I am That which dwelleth upon the Twin Horizons.

I am the Gate and the Keeper of the Gate of Twilight - the Encircler of the Light and the Darkness.

Hail to the Star of the Blessed and the Wise!

Hail to the Magical Formulae of the Undying and Imperishable Stars! By the Sign of the Pentalpha I raise and bind Thy Powers within the Four Watchtowers of the Universe. By the Secret Tetragrammaton of the Hand/Eye/Phallus/Mouth I speak forth the Arcana of the Sun and Moon conjoined upon the Earth.

I am That which uniteth and divideth. I am He, I am She - the Ancient One of Spirit Incarnate.

007

The page is a black-and-white sketch on textured paper, oriented vertically. At the top, handwritten text reads “CIRCLE CASTING as HYPERLOCAL ASTROLOGY” and below it, “or alternatively UNIVERSAL FIELD COORDINATES.” Centered beneath the text is a crude crosshair diagram with arrows pointing to cardinal directions (N, E, S, W) and labeled symbols like “△” and “▽” near the axes. Below this, a central drawing depicts a planet with rings, labeled “planetary gravity,” surrounded by multiple concentric, wavy lines representing orbits or fields. Annotations include “Earth’s daily rotation,” “Magnetic poles & axes of rotation,” and “ecliptic – cycles of time, inercouter.” The sketch uses simple lines and symbols, with no clear grid or professional layout, giving it a hand-drawn, conceptual feel. The text and diagrams are unevenly spaced, with some words partially smudged or illegible. The overall impression is that of a personal, experimental illustration of a cosmic or metaphysical system.

CIRCLE CASTING as HYPERLOCAL ASTROLOGY

or alternatively UNIVERSAL FIELD COORDINATES

Magnetic poles & axes of rotation

ecliptic - cycles of time, inercouter

008

The page is a handwritten journal entry in a dense, flowing script with varied lettering, written on lined paper. The text is split across two pages, with the top half beginning with “From Nevada, wires running from Texas to light their son’s eyes. How do you say all that in a symbol?” and continuing through phrases like “Or perhaps, do raise your awareness to altered state of mind?” and “In which reading those words / into / awareness arrives an actual / idea / awareness that?” The writing becomes more fragmented, with phrases like “Many things signed to do — signify a word, make it lose all its meaning, reduce it to a sound…” and “perhaps it’s intelligence can be transferred from one hand to the next in this journal.” The middle section includes a quote: “Books that read themselves! What do they know?!” attributed to “FREEMAX.” The bottom half contains a more abstract stream of thought, including “Perhaps the drug most likely to be this process itself, writing free from…” and fragments like “sense of light, eyes, writing, acid, consciousness,” followed by phrases like “Development, ideation, connecting, sound, diagrams, plumbing,” and “Microculture, human, to draw, ink, from, economics, charts.” The handwriting varies in size and clarity, with some words faded or smudged, and the overall tone is introspective and philosophical, with a sense of urgency and experimentation.

From Nevada, wires running from Texas to light their son’s eyes. How do you say all that in a symbol? Or perhaps, do raise your awareness to altered state of mind? In which reading those words / into / awareness arrives an actual / idea / awareness that? Many things signed to do — signify a word, make it lose all its meaning, reduce it to a sound… perhaps it’s intelligence can be transferred from one hand to the next in this journal, I see how beautiful text is here. This journal, I say, is a pure hope. And so much of that strengthening and the conservation of the page is it not a beautiful thing, to be there? I have made this word that looks like its meaning? Diggle bubble, bubble, obstruct, sexual, again, semantic. And so on.

“Books that read themselves! What do they know?!” - FREEMAX

Perhaps the drug most likely to be this process itself, writing free from

009

The page, appearing as a collage of sketches and handwritten notes on lined and unlined paper, begins with a top section featuring a complex, abstract diagram of interconnected circles and lines, with some elements labeled “Input device” and “Output device,” alongside fainter, overlapping sketches. Below this, a smaller, more detailed schematic labeled “Noetic Aethanedi pole antenna” is drawn on lined paper, showing a central structure with insulators and a feed line, annotated with “insulator” and “Kukri.” Further down, another schematic depicts a “Final SIGIL to be wood-burned,” illustrated with a series of circles and a central design resembling a star or flower, labeled “Aethanedi Pole” and “Terediabal Antenna.” The bottom portion of the page includes a diagram of a chemical process involving a “distilled HYDROSOl of ASTRONOMY TEXT 6473,” shown as a sequence of labeled containers and a flask, suggesting a transformation or preparation of a substance. The overall layout is fragmented, with overlapping sketches and notes, giving the impression of a personal, experimental journal or grimoire.

Final SIGIL to be wood-burned.

010

The page is a single, slightly tilted page of a book, with a header “1 Introduction” in a serif font, positioned at the top left, followed by a large, stylized numeral “1” to its left. Below the header is a quoted passage from W. Ross Ashby, with the quote text appearing in a standard serif font, slightly misaligned and fragmented due to OCR errors. Beneath the quote, the text continues with a paragraph discussing the brain’s subjective aspects and the potential for linking mental, neuronal, and biochemical aspects. The paragraph is interrupted by a list of three items: (a), (b), and (c), each preceded by a lowercase letter and a comma, with each item on a separate line. The page contains a small, light-colored rectangular sticker or tear on the right side, and the bottom right corner contains a page number “1”. The page is monochrome, with a noticeable vertical line of text on the right edge, suggesting a folded or damaged page. The text is mostly legible but contains numerous OCR errors, including misspellings and misaligned words.

1 Introduction

“The general (purpose) computer is… a machine in which the operator can prescribe, for any internal state of the machine and for any given condition affecting it, what state it shall go to next… All behaviors are at the operator’s disposal. A program… with the machine forms a mechanism that will show (any thinkable) behavior. This generalization has largely solved the main problem of the brain so far as its objective behavior is concerned; the nature of its subjective aspects may be left to the next generation, if only to reassure them that there are still major scientific worlds left to conquer.” (W. Ross Ashby, “What Is Mind?” in Theories of the Mind, Macmillan, New York, 1962)

The relations of the activities of the brain to the subjective life in the mind have long been an arguable puzzle. In this century some advances in the reciprocal fields of study of each aspect of the question apparently can begin to clear up some of the dilemmas. This is a report of a theory and its use which is intended to attempt to link operationally, the:

(a) mental subjective aspects,

(b) neuronal circuit activities,

011

The page, titled “HOW AN ENZYME WORKS,” features a diagram divided into three rows, each containing two illustrations and labels. The top row shows a circular shape labeled “ENZYME BEFORE WORKING” on the left and a diamond-shaped head attached to a dotted sphere labeled “MOLECULE COMPLETE” on the right. The middle row depicts the same enzyme circle with the diamond head now attached to the sphere, labeled “ENZYME WHILE WORKING,” alongside a separate, detached diamond head and a dotted sphere labeled “MOLECULE SPLIT APART.” The bottom row mirrors the top, showing the enzyme circle with a jagged edge labeled “ENZYME AFTER WORKING” and the same detached diamond head and dotted sphere labeled “MOLECULE SPLIT APART.” The page number “31” appears at the bottom right.

HOW AN ENZYME WORKS

ENZYME BEFORE WORKING

MOLECULE COMPLETE

ENZYME WHILE WORKING

ENZYME AFTER WORKING

MOLECULE SPLIT APART

012

The page contains two columns of text on a white background, with a dark smudge in the center. The left column begins with “(d) observable behavioral variables.” followed by a numbered list of eight sources of information used by the author, which include experiments on the CNS and animals, personal isolation experiments, psychoanalytic work, electronic computer design, voice frequency analysis, neuropsychopharmacology, communication studies with humans and dolphins, and a broad range of academic disciplines. The right column is titled “BASIC ASSUMPTIONS” and contains two numbered points: (1) a description of the human brain as an immense biocomputer, estimating neuron and glial cell counts and its parallel processing capabilities, and (2) properties of the brain computer, including memory storage, control over outputs, and storage of speech. The page number “2” appears at the top right of the left column and “3” at the top right of the right column. The text is in a serif font, and the layout suggests a formal academic or technical document.

(d) observable behavioral variables.

The sources of information used by the author are mainly:

(1) the results and syntheses of his own experiments on the CNS* and the behavior of animals,

(2) the experiences and results of experiments in profound physical isolation on himself,

(3) his own psychoanalytic work on himself and others,

(4) his studies and experience with the design, construction, operation and programming of electronic solid state digital stored-program computers,

(5) studies of analogue computers for the analysis and conversion of voice frequency spectra for man and for dolphin and the online computation of multiple continuous data sources

(6) studies and experiments in neuropsychopharmacology

(7) research on and with communication with humans, with dolphins, and with both

(8) study of certain literature in biology (B), logic (L), neuropsychopharmacology (N), brain and mind models (M), communication (T), psychoanalysis (P), computers (C), psychology (O), psychiatry (I), and hypnosis (H) (see References and Bibliography).

The introduction of open-minded, multiple-level, continuously developing, online, operational, dynamic, economical, expanding, structural-functional, field-jumping, field-ignoring theory is needed. The applications of this theory extend from the atomic-molecular-

membranes-cell levels, though cell aggregational levels, total behavior and mental-cognitive levels of the single organism of large brain size, and to dyadic and larger groups of such individuals.

BASIC ASSUMPTIONS

The basic assumptions are as follows:

The human brain is assumed to be an immense biocomputer, several thousands of times larger than any constructed by Man from non-biological components by 1965.

The numbers of neurons in the human brain are variously estimated at 13 billions (1.3 times ten to the tenth) with approximately five times that many glial cells. This computer operates continuously throughout all of its parts and does literally millions of computations in parallel simultaneously. It has approximately two million visual inputs and one hundred thousand acoustic inputs. It is hard to compare the operations of such a magnificent computer to any artificial ones existing today because of its very advanced and sophisticated construction.

Certain properties of this computer are known, others are yet to be found. One of these properties obviously is a very large memory storage. Another is control over hundreds of thousands of outputs in a coordinated and programmed fashion. Other examples are the storage and evocation of all those complex behaviors and perceptions known as speech,

013

The page is a black-and-white document with a central, abstract musical score for a piano piece, overlaid with handwritten and typewritten text. At the top, the title “XIV piano piece for David Tudor” is written in a stylized font, with the composer’s name “Sylvano Busotti” at the bottom left. To the right of the title, the text “adegno del 1949” and “adegione pianistica: 27.3.1959” are visible, indicating the composition date and piano adaptation date. The score itself is highly abstract, with scribbled lines, symbols, and markings that appear to represent musical notation, including notes, rests, and various directional or performance markings. The score is divided into sections, each labeled with numbers 1–6, and each section contains a different type of notation, including symbols for dynamics, duration, and intensity. The text “7 vedi NOTE” appears multiple times on the page, suggesting a note or instruction to refer to additional notes. The overall layout is chaotic, with the musical score and text elements overlapping and intersecting.

[No text on this page]

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The page contains a single, densely packed block of text, appearing to be a section of a handwritten or typewritten document, with the page number “5” at the top right and “4” at the bottom right, suggesting it’s a two-page spread. The text is organized into numbered sections from 3 to 9, each discussing aspects of “computer programs” — metaphorically referring to human behavior or cognitive patterns — with themes including built-in programs, permanence, acquisition, and genetic influence. The text is fragmented, with some lines broken or misaligned, and the font appears uneven and slightly blurred, indicating either a scanned document or handwritten notes. The overall layout is non-standard, with no clear paragraph breaks or indentation, and the text flows without punctuation or spacing consistency. The right margin is uneven, and the left side of the page appears to be the continuation of a previous page’s content. There is a faint watermark or background texture visible in the document.

hearing and language. Some of the more unusual properties of this computer are given further along in this paper.

Certain programs are built-in, within the difficult-to-modify parts of the (macro and micro) structure of the brain itself. At the lowest possible level such programs which are built-in are those of feeding, eating, sex, avoidance and approach programs, certain kinds of fears, pains, etc.
Programs vary in their permanence, some are apparently evanescent and erasable, others operate without apparent change for tens of years. Among the evanescent and erasable programs one might categorize the ability to use visual projection in the service of one’s own thinking. One finds this ability with a very high incidence among children and a very low incidence among adults. An example of a program operating without change for tens of years one can show handwriting, over a long series of years, to maintain its own unique patterns.
Programs are acquirable throughout life. Apparently no matter how old a person is, there is still a possibility of acquiring new habits. The difficulties of acquisition may increase with age, however, it is not too sure that this is correct. The problem may not be with acquiring programs so much as a decrease in the motivation for acquiring programs.
The young newly growing computer acquires programs as its structure expands some of these take on the appearance of built-in permanence. An example of such acquisition of programs in a child is in the pronunciation of words. Once it agrees with those of the parents the pronunciation is very difficult to change later, i.e., there is really no great

motivation for the child to change a particular pronunciation when it is satisfactory to those who listen.

Some of the programs of the young growing computer are in the inherited genetic code; how these become active and to what extent is known only in a few biochemical-behavioral cases, at variance with the expectable and usual patterns of development. The so-called Mongoloid phenomenon is inherited and develops at definite times in the individual’s life. There are several other interesting clinical entities which appear to be genetically determined. To elicit the full potential of the young growing computer requires special environments to avoid negative anti-growth kinds of programs being inserted in the young computer early.
The inherited genetic programs place the upper and the lower bounds on the total real performance and on the potential performance of the computer at each instant of its life span. Once again we are assuming that the best environment is presented to the young organism at each part of its life span. It is not meant to imply that such an environment currently is being achieved. This basic assumption seems highly probable but would be very difficult to test.
The major problems of the research which are of interest to the author center on the erasability, modifiability, and creatability of programs. In other words, I am interested in the processes of finding metaprograms (and methods and substances) which control, change, and create the basic metaprograms of the human computer. It is not known whether one can really erase any program. Conflicting schools of thought go from the extremes that one stores everything within the computer and never erases it to

015

The page, titled “GEOMETRIC FORMULAS” at the top, displays a vertical list of five geometric shapes with their area formulas and corresponding diagrams. Starting from the top, it shows a triangle labeled “Triangle” with formula “area (A) = bh/2” and a diagram labeled “Figure 2-1” showing a triangle with base “b” and height “h”. Below that is a square labeled “Square” with formula “area (A) = b²” and diagram “Figure 2-2” showing a square with side “b”. Next is a rectangle labeled “Rectangle” with formula “area (A) = ab” and diagram “Figure 2-3” showing a rectangle with sides “a” and “b”. Finally, at the bottom, a parallelogram labeled “Parallelogram” with formula “area (A) = ah” and diagram “Figure 2-4” showing a parallelogram with base “a” and height “h”. Each formula is presented in a distinct mathematical format, and each shape is accompanied by a labeled diagram.

GEOMETRIC FORMULAS
Triangle
 $\text{area (A)} = \frac{\text{bh}}{2}$ 
Figure 2-1.
Square
 $\text{area (A)} = b^2$ 
Figure 2-2.
Rectangle
 $\text{area (A)} = ab$ 
Figure 2-3.
Parallelogram
 $\text{area (A)} = ah$ 
Figure 2-4.

016

The page displays two columns of dense, fragmented text, appearing to be from a technical or philosophical document on human-computer interaction, possibly a grimoire or theoretical treatise. The text is highly abstract, using terms like “selfmetaprogramming,” “metacommand language,” and “human computer” with a mix of technical and metaphorical language. The content discusses the structure of human cognition as a computer system, its stored programs, self-programming capabilities, and the implications of metaprogramming for human behavior and scientific classification.

The top-right corner contains handwritten annotations in pencil, partially legible, reading “Communicating with 2” and possibly “Communication” or “Communication and 2,” which may be a note or a header. The page has two visible page numbers: “6” at the bottom-left and “7” at the bottom-right, suggesting this is a spread from a bound document.

The text is split into numbered sections (10–15) with varying degrees of clarity, some phrases being garbled or misaligned. Section 10 discusses the difficulty of creating new programs and the challenge of recognizing them, while section 11 describes the human computer’s general-purpose nature and adaptability. Section 12 defines stored programs and their activation. Section 13 delves into self-programming properties, distinguishing between selfmetaprogramming and other programming, with a reference to Figure 1. Section 14 discusses selfmetaprogramming with definable limits and a note on consciousness and awareness thresholds. Section 15 posits that older classifications of human fields and science can be redefined through the lens of the human brain.

The layout is inconsistent, with lines sometimes broken, text occasionally smeared, and a light smudge or mark near the top-right. The overall impression is of a handwritten or typed document that has been reviewed or annotated, possibly with a focus on cognitive or computational metaphors.

only the important aspects and functions are stored in the computer and hence, there is no problem of erasing. Modifications of already existing programs can be done with more or less success. The creation of new programs is a difficult assignment. How can one recognize a new program once it is created? This new program may merely be a variation on already stored programs.

To date some of the metaprograms are unsatisfactory (educational methods for the very young, for example). It is doubtful if any metaprogram is fully satisfactory to the inquiring mind. Some are assumed to be provisionally satisfactory for current heuristic reasons. To keep an open mind and at the same time a firm enough belief in certain, essential metaprograms is not easy; in a sense we are all victims of the previous metaprograms which have been laid down by other humans long before us.
The human computer has general purpose properties within its limits. The definition of general purpose implies the ability to attack problems that differ not only in quantitative degree of complexity but also that differ qualitatively in the levels of abstraction in the content dealt with. One can shift rapidly one’s mind and its attention from one area of human activity to another with very little delay in the reprogramming of one’s self to the new activity. The broader the front of such reprogramming the more general purpose the computer is. The ability to move from the interhuman business world to the laboratory world of the scientist would be an example of a fairly general purpose computer.
The human computer has stored program properties. A stored program is a set of instructions which are placed in the

memory storage system of the computer and which control the computer when orders are given for that program to be activated. The activator can either be another system within the same computer, or someone, or some situation outside the computer.

The human computer, within limits yet to be defined, has “selfprogramming” properties, and other programming properties. This assumption follows naturally from the previous one but brings in the systems within the mind which operate at one level of abstraction above that of programming. As is shown in Fig. 1, one literally has to talk about selfmetaprogramming as well as selfprogramming. This does not imply that the whole computer can bethought of as the self. Only small portions of the systems operating at a given instant are taken up by the selfmetaprograms. In other words there has to be room for the huge store of programs themselves, of already built-in circuitry for instinctual processes, etc. All of these exist in addition to others leaving only a portion of the circuitry available for the selfmetaprograms. The next section emphasizes this aspect.
This computer has selfmetaprogramming properties, with limits determinable and to be determined.

(Note: selfmetaprogramming is done consciously in metacommand language. The resulting programming then starts and continues below the threshold of awareness). Similarly, each computer has a certain level of ability in metaprogramming others-notself.

The older classifications of fields of human endeavor and of science are redefinable with this view of the human brain

017

The page displays four diagrams in a 2x2 grid, each labeled with a type and location, with accompanying handwritten notes below. The top-left diagram is a circular shape with dashed lines and dots, labeled “* TYPE ‘A’ FLATTENED CIRCLE*” and associated with “CASTLE RIGG, KESWICK,” noting a “forming triangle 1:3:√10” and “Diameter 40MY.” The top-right diagram shows an elliptical shape with dashed lines and dots, labeled “* TYPE ‘B’ FLATTENED CIRCLE*” and associated with “Barbrook, Derbyshire,” noting a “forming triangle 1:3:√10” in “(in units of 3MY).” The bottom-left diagram is an ellipse with a grid and labeled “* TYPE ‘II’ ‘EGG’” and associated with “Borrowstone Rigg,” noting a “forming triangle ~~3/4~~5” and “Diameter 50 MY.” The bottom-right diagram is a circular shape with a grid and labeled “ ELLIPSE*” and associated with “David ‘B’,” noting a “forming triangle 12:35:37” in “(in units of quarter MY).” The page number “15” is visible at the bottom center.

TYPE ‘A’ FLATTENED CIRCLE*

CASTLE RIGG, KESWICK forming triangle 1:3:√10 Diameter 40MY

TYPE ‘B’ FLATTENED CIRCLE*

Barbrook, Derbyshire forming triangle 1:3:√10 (in units of 3MY)

TYPE ‘II’ ‘EGG’*

Borrowstone Rigg forming triangle ~~3/4~~5 Diameter 50 MY

ELLIPSE*

David ‘B’ forming triangle 12:35:37 (in units of quarter MY)

018

The page displays two columns of dense, typewritten text with a faint watermark and a handwritten note at the bottom center. The top of the page is labeled “9” on the right side and “8” on the left, suggesting it is the back of a two-sided page. The text is arranged in paragraphs with numbered sections (16, 17, 18, 19), each discussing different aspects of a theoretical framework involving the human mind, brain, and computer analogies. The content discusses terminology such as “metaprogramming,” “suggestibility,” “mind-brain dichotomy,” and “autonomic nervous system.” The text also touches on philosophical and religious concepts, including the “spirit” or “soul,” and references William James and H. Bernheim. The handwritten note, illegible, is centered beneath the main body of text. The page appears slightly faded and has a subtle horizontal line across the bottom, indicating a fold or crease.

and the human mind. For example, the term suggestibility has often been used in a limited context of programming and of being programmed by someone outside. Hypnotic phenomena are seen when a given computer allows itself to be more or less completely programmed by another one. Metaprogramming is considered a more inclusive term than suggestibility. Metaprogramming considers sources, inputs, outputs, and central processes rather than just the end result of the process (see Fig. 1). Suggestibility names only the property of receiving orders and carrying them out rather than considering the sources, inputs, outputs, and central processes (ref. H. Bernheim, Clark Hull).

The mind is defined as the sum total of all the programs and the metaprograms of a given human computer, whether or not they are immediately elicitable, detectable, and visibly operational to the self or to others. (Thus, in alternative terminology, the mind includes unconscious and instinctual programs.) This definition and basic assumption has various heuristic advantages over the older terminologies and concepts. The mind-brain dichotomy is no longer necessary with this new set of definitions. The mind is the sum of the programs and metaprograms, i.e., the software of the human computer.
The brain is defined as the visible palpable living set of structures to be included in the human computer; the computer’s real boundaries in the body are yet to be fully described (biochemical and endocrinological feedback from target organs, for example). The boundary of the brain, of course, may be considered as the limits of the extensions of the central nervous system into the periphery. One would

include here also the so-called autonomic nervous system as well as the CNS.

There is in certain fields of human thinking and endeavor, a necessity to have a third entity, sometimes including, sometimes not needing the brain-mind-computer; commonly this entity is defined as existing by theologians and other persons interested in religion. Whether the term “spirit” or “soul” or other is used is immaterial in this framework. Such terms inevitably come up in the discussion of the ultimate meanings of existence, the origins of the brain-mind computers, the termination or the destinations of self after bodily death, and the existence or non-existence of minds greater than ours, within or outside of brain-computers. This extra-brain-mind-computer entity can be included in this theory if and when needed. (I agree that such assumptions may be needed to give overall meaning to the whole of Man. Religion is an area for experimental science. Work starts in this area with the basic assumptions of William James, the great psychologist. The definitions in this area of this theory may be expanded in the future. Some compound term like “brain-mind-spirit-computer may be developed at that time). There is still the problem of the existence theorem to be satisfied in regard to this third entity. There are some persons who assume it exists; there are others who assume it does not exist.
Certain chemical substances have programmatic and/or metaprogrammatic effects, i.e., they change the operations of the computer, some at the programmatic level and some at the metaprogrammatic level. Some substances which are of interest at the metaprogrammatic level are

019

The page displays three geometric shapes with their formulas and diagrams: a Circular Ring, an Ellipse, and a Sphere. At the top, under the heading “Circular Ring,” the area formula is given as A = π(R² - r²) = 0.7854(D² - d²), accompanied by a diagram labeled “Figure 2-13” showing a circular ring with outer diameter D and inner diameter d. Below this, under “Ellipse,” the circumference is given as C = π(a + b) and the area as A = πab, with a diagram labeled “Figure 2-14” showing an ellipse with semi-major axis a and semi-minor axis b. At the bottom, under “Sphere,” the surface area is A = 4πR², the volume is V = (4/3)πR³, and the surface area in terms of diameter is S = 4πD², with a diagram labeled “Figure 2-15” showing a sphere with radius R and diameter D. Each section includes a corresponding labeled diagram.

Circular Ring
 $\text{area (A)} = \pi(R^2 - r^2) = 0.7854 (D^2 - d^2)$ 
Figure 2-13.
Ellipse
 $\text{circumference (C)} = \pi(a+b)$ 
 $\text{area (A)} = \pi ab$ 
Figure 2-14.
Sphere
 $\text{area (A)} = 4\pi R^2$ 
 $\text{volume (V)} = \frac{4}{3}\pi R^3$ 
 $\text{surface area (S)} = 4\pi D^2$ 
Figure 2-15.

020

This is a two-page spread from a book, page 10 on the left and page 11 on the right, both filled with dense, non-standard, and jumbled text that appears to be a blend of technical, philosophical, and experimental writing. The text is heavily fragmented, with some words and phrases reversed or scrambled, suggesting a deliberate stylistic or structural experiment. The right-hand page contains a handwritten mark (a cross or checkmark) near the top-right corner. Both pages are marked with a small number “20” and “21” in the bottom-right corners, likely indicating section or paragraph numbers. The text discusses a theoretical framework involving “metaprogramming,” “selfmetaprogram language,” “computer operations,” “brain-computer interaction,” and “psychopharmacology,” using terms like “reprogramming substances,” “lysergic acid diethylamide,” and “reticular activating-inhibiting system.” The tone suggests an emerging, possibly experimental, field of study that blends neuroscience, computer science, and psychology. The writing style is conversational yet technical, with a focus on self-reflexive and introspective exploration. The text is not in a standard readable format, with phrases often cut off or misaligned, contributing to a sense of disorientation or avant-garde experimentation. The page layout is clean, with no graphics or diagrams, only text, and the content seems to be exploring a metaphorical or conceptual model of consciousness and computation. The bottom of the right page contains a line of text that appears to be a continuation of the previous paragraph, but it is partially cut off or illegible. The overall impression is of a non-conventional, possibly self-reflective, academic or philosophical text that is not yet fully refined.

those that allow reprogramming, and those that allow and facilitate modifications of the metaprograms. (The old terms for these substances are loaded with diagnostic, therapeutic, medical, moral, ethical, and legal connotation). To be scientifically useful the social connotations are removed. Such terms as “psychopharmacologically active drugs,” “psychotomimetics,” “tranquilizers,” “Narcotics,” “drugs,” “anaesthetics,” “analgesic,” etc. are used in a new theory without the therapeutic, diagnostic, moral, ethical, and legal connotations; all of this area should be subjected to careful reevaluation with the new view in mind. Applications of good theory to the social levels may help to unravel this area of controversy.

For example, the term “reprogramming substances” may be appropriate for compounds like lysergic acid diethylamide. For substances like ethyl alcohol the term “metaprogram- attenuating substances” may be useful. Similarly the theory proposed may be useful in other areas in the classical fields of psychopharmacology, neurophysiology, biochemistry, and psychology, among others. Some of the detailed operations of the brain itself can be operationally organized to show how programs are carried out by excitation-inhibition- disinhibition patterns among and in neural masses and sheets (for example, the reticular activating-inhibiting system, the reward-punishment systems, the cerebral- cortical conditionable systems, etc.).

It is not intended that I be dogmatic in the new definitions of this version of the theory.

Speed in the recording of the ideas is preferred to perfection of the concepts and deriving the ultimate

in internal consistency. As the theory grows, so may grow its accuracy and applicability. It is intended that the theory remains as open-minded as possible without sacrificing specificity in hazy generality. The language chosen is as close to basic English as possible.

As the theory develops, a proper kind of symbolism may be developed to succinctly summarize the points and allow manipulations of the logic to elucidate elaborations of the argument in various cases.

It is known that the common “machine-language” of mammalian brains is not yet discovered. The selfmetaprogram language is some individual variation of the basic native language in each specific human case. All of the levels and each level expressed in the selfmetaprogram language for selfprogramming cover very large segments of the total operation of the computer, rather than details of its local operations. Certain concepts of the operation of computers, once effectively introduced into a given mind- brain-computer, change its metaprograms rapidly. Language now takes on a new precision and power in the programming process.

Certain kinds of subjective experience reveal some aspects of the operations of the computer to the self. Changes in the states of consciousness are helpful in delineating certain aspects of the bounds and the limits of these operations. Inspection of areas of stored data and programs not normally available is made possible by special techniques. Special aspects and areas of stored programs can be visualized, felt, heard, lived through or replayed, or otherwise elicited from

021

The page displays a black-and-white diagram centered on a large circular arrangement of dots, labeled “THE AUBREY CIRCLE (5% POSTHOLES)”, with concentric circles inside it marked “SARSEN CIRCLE”, “BLUESTONE ELLIPSE”, and “BLUESTONE CIRCLE”. Arrows point from labeled positions on the diagram to directional markers like “MIDWINTER SUNSET”, “MIDSUMMER SUNRISE”, “MIDWINTER MOONSET”, and “MIDSUMMER MOONRISE”, with corresponding alignments indicated by dotted lines and arrows. The diagram also includes a smaller rectangle labeled “STATION STONE RECTANGLE” and several other circles labeled “30’Y HOLES”, “29’Z’ HOLES”, and “59 BLUESTONES IN CIRCLE”. Below the diagram, a paragraph of text reads: “In March 1963, Mr C A Newham wrote an article for the Yorkshire Post which revealed the solar and lunar alignments of the Station Stone rectangle (above). These alignments apply only at the latitude of Stonehenge, elsewhere the rectangle would become a parallelogram. The geometry is entirely octagonal (see page 49).”

In March 1963, Mr C A Newham wrote an article for the Yorkshire Post which revealed the solar and lunar alignments of the Station Stone rectangle (above). These alignments apply only at the latitude of Stonehenge, elsewhere the rectangle would become a parallelogram. The geometry is entirely octagonal (see page 49).

022

The page is a two-column layout with text in a dense, handwritten or typewritten style, appearing fragmented and jumbled. The left column contains numbered entries 22–27, each beginning with a number followed by a period, with lines of text that are mostly illegible due to poor alignment and inconsistent spacing. The right column contains the continuation of text from the left, with some lines appearing mirrored or inverted, possibly due to a flipped document or misalignment. The page is marked with the number “12” at the bottom left and “13” at the bottom right, indicating it is a double-page spread. There are handwritten annotations and marks in the top right corner, including a signature-like mark and a scribbled note. The overall appearance suggests a heavily edited or transcribed document with inconsistent formatting and possible errors in transcription or alignment.

memory storage by means of special techniques and special instructions. The evocation can be confined to one or any number of sensory modes, with or without motor replay simultaneously.

After and even during evocation from storage, within certain limits, desired attenuations, corrections, additions, and new creations with certain half-lives can be made. These can be done with (fixed but as yet not determinable) half-lives in conscious awareness, and can subsequently be weakened or modified or replaced, to a certain extent to be determined individually. An unmodifiable half-life can turn up for certain kinds of programs subjected to antithetical metaprograms, i.e., orders to weaken, modify or replace a program act as antithetical metaprograms to already existing programs or metaprograms.
New areas of conscious awareness can be developed, beyond the current conscious comprehension of the self. With courage, fortitude, and perseverance the previously experienced boundaries can be crossed into new territories of subjective awareness and experience. New knowledge, new problems, new puzzles are found in the innermost explorations. Some of these areas may seem to transcend the operations of the mind-brain-computer itself. In these areas there may be a need for the metacomputer mappings; but first the evasions constructed by the computer itself must be found, recognized, and reprogrammed. New knowledge often turns out to be merely and hidden knowledge after mature contemplative analysis.
Some kinds of material evoked from storage seem to have the property of passing back in time beyond the beginning of this

brain to previous brains at their same stage of development; there seems to be a passing of specific information from past organisms through the genetic code to the present organism; but, again, this idea may be a convenient evasion, avoiding deeper analysis of self. One cannot make this assumption that storage in memory goes back beyond the sperm-egg combination or even to the sperm-egg combination until a wishful phantasy constructed to avoid analyzing one’s self ruthlessly and objectively is eliminated.

Apparently not all programs are revisable. The reasons seem various; some are held by feedback established with other mind-brain-computers in the life involvement necessary for procreation, financial survival, and practice of business or profession. Other non-revisable programs are those written in emergencies in the early growth years of the computer.

The programs dealing with survivals of the young self sometimes seem to have been written in a hurry in desperate attempts to survive; these seem most intransigent.

Priority lists of programs can function as metaprograms. Certain programs have more value than others. By making such lists the individual can find desired revision points for rewriting important metaprograms. In other words it is important to determine what is important in one’s own life.
The basic bodily and mental function programs and their various forms dealt with in verbal-vocal modes (words, speech, etc.) have been described in great detail in the psychoanalytic literature. Evasion, denial, and repression are varieties of metaprograms dealing with the priority list of programs. Metaprograms to hide (repress) certain kinds of storage material are commonly found in certain persons.

023

The page displays four labeled geometric figures with their respective formulas for area and volume, each accompanied by a diagram and a figure number. Starting from the top, the first entry is labeled “Cube” with the formula for area (A) = 6b² and volume (V) = b³, alongside a diagram of a cube with side length b and labeled Figure 2-16. Below that, the “Rectangular Solid” is shown with area (A) = 2(ab + bc + ac) and volume (V) = abc, paired with a diagram of a rectangular prism with dimensions a, b, and c, labeled Figure 2-17. Further down, the “Cone” is presented with area (A) = πRS, rewritten as πR√(R² + h²), and volume (V) = (πR²h)/3, also written as 1.047R²h and 0.2618D²h, next to a diagram of a cone with base radius R, slant height s, and height h, labeled Figure 2-18. Finally, the “Cylinder” section shows cylindrical surface = πDh, total surface = 2πR(R + h), and volume (V) = πR²h, rewritten as c²h/(4π), with a diagram of a cylinder with radius R and height h, labeled Figure 2-19. Each entry is followed by a corresponding figure number.

Cube
 $\text{area (A)} = 6b^2$ 
 $\text{volume (V)} = b^3$ 
Figure 2-16.
Rectangular Solid
 $\text{area (A)} = 2(ab + bc + ac)$ 
 $\text{volume (V)} = abc$ 
Figure 2-17.
Cone
 $\text{area (A)} = \pi RS$ 
 $= \pi R\sqrt{R^2 + h^2}$ 
 $\text{volume (V)} = \frac{\pi R^2 h}{3}$ 
 $= 1.047R^2h$ 
 $= 0.2618D^2h$ 
Figure 2-18.
Cylinder
 $\text{cylindrical surface} = \pi Dh$ 
 $\text{total surface} = 2\pi R(R+h)$ 
 $\text{volume (V)} = \pi R^2 h$ 
 $= \frac{c^2h}{4\pi}$ 
Figure 2-19.

024

The page displays two columns of dense, typewritten text, appearing as a single sheet with a visible fold line down the center, suggesting a two-page spread. The top-right corner of the page is marked with the number “15” and the bottom-right corner with “14”, indicating this is the right-hand page of a two-page spread, with the left page numbered 14 and the right page 15. The text is arranged in paragraphs, some of which are repeated or overlapping, indicating a possible error in transcription or pagination. The page is heavily annotated with handwritten notes in the margins and on the text, including a large “X” mark and some illegible scribbles. The content discusses topics related to computer programming, human psychology, and the use of LSD, referencing works by B.F. Skinner, I.P. Pavlov, and J.C. Lilly. The text appears to be a technical or academic document, possibly a draft or manuscript, with a focus on the intersection of computer science and human behavior. The page is slightly creased, suggesting it has been handled or folded.

Such analyses are confined to the verbal-vocal-acoustic modes. Encounters with other persons in the real world are much more powerful in terms of modifications of programs than either psychoanalysis or selfanalysis. For example learning through sexual intercourse cannot be given through the verbal-vocal mode.

The detailed view of certain kinds of non-speech, nonverbal learning programs, i.e., some of the methods of introducing such programs and parts thereof, are exemplified in the work of I. P. Pavlov and of B. F. Skinner. Some of these results are the teaching and the learning of a simple code or language, a code with nonverbal elements (non-vocalized and non-acoustic) with autonomic components (Gordon Pask, 1966). Other motor outputs than the phonation apparatus are used.
The reward-punishment dichotomy or spectrum is critically important within the human computer’s operations.

The fact of various CNS circuits existing as reward and as “punishment” systems when stimulated by artificial or by natural inputs must be taken into account (Lilly, J. C., 1957, 1958, 1959). The powerful emotional underpinnings of “movement toward” and “movement away” must be included, as well as the acquisition of code symbols for these processes. Such symbols tend to set up the priority hierarchies of basic operational programs in microformat (nonverbal) and in macroformat (verbal). Too often, “accidental” juxtaposition seems to key off improper hierarchical relations at the outset, with resulting priorities set by “first occurrence” spontaneous configurations, unplanned and unprepared. With a new view and a new approach, with planned “spontaneities” graded by order of occurrence, proper program priorities could be set at the beginning of the computer’s life history. The maintenance of general purpose properties from the early human years to adulthood is a worthwhile metaprogram.

The positive (pleasure producing) and negative (pain or fear producing) aspects of the programs and metaprograms strike at the very roots of motivational energies for the computer. One aspect of lysergic acid diethylamide is that it can give an overall positive motivational aspect to the individual in the LSD25 state. This may facilitate program modifications, but it also can facilitate seeking pleasure as a goal of itself.

Various special uses of the human computer entail a principle of the competing use of the limited amount of total available apparatus. To hold and to display the accepted view of reality in all its detail and at the same time to program another state of consciousness is difficult; there just isn’t enough human brain circuitry to do both jobs in detail perfectly. Therefore special conditions give the best use of the whole computer for exploring, displaying, and fully experiencing new states of consciousness; physical isolation (only with special limited stimulation patterns, if any) (Lilly, 1956) gives the fullest and most complete experiences of the internal explorations. One such extreme condition is profound physical isolation (isothermicity, zerolevel visible quanta, sonic levels below threshold, minimum gravitational resisting unit area forces, minimum internal stimulation intensity, minimum configurations, unplanned and unprepared. With a new view and a new approach, with planned “spontaneities” graded by order of occurrence, proper program priorities could be set at the beginning of the computer’s life history. The maintenance of general purpose properties from the early human years to adulthood is a worthwhile metaprogram.

configurations, unplanned and unprepared. With a new view and a new approach, with planned “spontaneities” graded by order of occurrence, proper program priorities could be set at the beginning of the computer’s life history. The maintenance of general purpose properties from the early human years to adulthood is a worthwhile metaprogram.

Various special uses of the human computer entail a principle of the competing use of the limited amount of total available apparatus. To hold and to display the accepted view of reality in all its detail and at the same time to program another state of consciousness is difficult; there just isn’t enough human brain circuitry to do both jobs in detail perfectly. Therefore special conditions give the best use of the whole computer for exploring, displaying, and fully experiencing new states of consciousness; physical isolation (only with special limited stimulation patterns, if any) (Lilly, 1956) gives the fullest and most complete experiences of the internal explorations. One such extreme condition is profound physical isolation (isothermicity, zerolevel visible quanta, sonic levels below threshold, minimum gravitational resisting unit area forces, minimum internal stimulation intensity, minimum configurations, unplanned and unprepared. With a new view and a new approach, with planned “spontaneities” graded by order of occurrence, proper program priorities could be set at the beginning of the computer’s life history. The maintenance of general purpose properties from the early human years to adulthood is a worthwhile metaprogram.

The detailed view of certain kinds of non-speech, nonverbal learning programs, i.e., some of the methods of introducing such programs and parts thereof, are exemplified in the work of I. P. Pavlov and of B. F. Skinner. Some of these results are the teaching and the learning of a simple code or language, a code with nonverbal elements (non-vocalized and non-acoustic) with autonomic components (Gordon Pask, 1966). Other motor outputs than the phonation apparatus are used.
The reward-punishment dichotomy or spectrum is critically important within the human computer’s operations.

Various special uses of the human computer entail a principle of the competing use of the limited amount of total available apparatus. To hold and to display the accepted view of reality in all its detail and at the same time to program another state of consciousness is difficult; there just isn’t enough human brain circuitry to do both jobs in detail perfectly. Therefore special conditions give the best use of the whole computer for exploring, displaying, and fully experiencing new states of consciousness; physical isolation (only with special limited stimulation patterns, if any) (Lilly, 1956) gives the fullest and most complete experiences of the internal explorations. One such extreme condition is profound physical isolation (isothermicity, zerolevel visible quanta, sonic levels below threshold, minimum gravitational resisting unit area forces, minimum internal stimulation intensity, minimum configurations, unplanned and unprepared. With a new view and a new approach, with planned “spontaneities” graded by order of occurrence, proper program priorities could be set at the beginning of the computer’s life history. The maintenance of general purpose properties from the early human years to adulthood is a worthwhile metaprogram.

The detailed view of certain kinds of non-speech, nonverbal learning programs, i.e., some of the methods of introducing such programs and parts thereof, are exemplified in the work of I. P. Pavlov and of B. F. Skinner. Some of these results are the teaching and the learning of a simple code or language, a code with nonverbal elements (non-vocalized and non-acoustic) with autonomic components (Gordon Pask, 1966). Other motor outputs than the phonation apparatus are used.
The reward-punishment dichotomy or spectrum is critically important within the human computer’s operations.

025

The page contains a single black-and-white sketch of a complex, concentric diagram centered on a large circle. Within this outermost circle, a star-like pattern of intersecting lines forms a 12-pointed star, with labels such as “Station Stone” and “Aubrey Circle” scattered around its perimeter. Nested inside this, a second concentric circle contains a similar star pattern, labeled “Sarsen Circle,” with fainter dots and markings within its interior. At the very center of the diagram is a small circle labeled “Aubrey Circle,” containing a simple schematic of a stone arrangement, possibly a single stone or a small monument. The entire diagram is surrounded by a thick, irregularly drawn border, suggesting a protective or ritualistic structure. The sketch appears to be hand-drawn, with some faint smudges and lines suggesting wear or age. The labels are inconsistently printed, with some appearing as “Sarsen Circle” and others as “Station Stone,” indicating a possible typographical error or variation in the original text. The page has a textured, grainy appearance, suggesting it may be an old or scanned document.

[No text on this page]

026

The image shows two facing pages of a book, numbered 16 (left) and 17 (right), with dense, typewritten text in a serif font. The left page contains a paragraph starting with “respiration stimulus level, etc.” and continues through a discussion of consciousness, computing, and brain function, ending with a numbered section 31. Below this, a handwritten note in the margin reads “Gross Size.” The right page contains sections 32, 33, and 34, each beginning with a number followed by a colon, discussing the expandability and partitioning of consciousness programs, steady-state values of computer fractions, and categorization of metaprograms. The text is highly fragmented and appears to be non-standard or experimental in nature. Both pages have a header with a page number in the top right corner: 16 on the left, 17 on the right. The pages are slightly tilted, with a faint watermark or design pattern visible along the bottom edge of the left page.

respiration stimulus level, etc.). This condition can give some additional new states of consciousness the “necessary low-level evenness of context” in which to develop. These results are facilitated by minimizing the necessities for computing the present demands of the physical reality and its calculable present consequences (physical reality programs).

Using this principle of the competitive use of portions of the available brain it is important to understand why, for example, a large amount of hallucinating would not be permissible in our present society. If a person is actively projecting visual images in three dimensions from his stored programs, he may not have enough of his brain functioning in ordinary modes to take care of him with regard to say, gravity, automobiles, and similar hazards. He may become so involved in the projection in the visual field that the inputs from reality itself have to be sacrificed and their quality reduced. It is apparently this danger which teaches us to inhibit hallucinations(i.e., visual projection displays) in the very young children.

The principle of the competitive use of available computer structure has a corollary: the larger the computer is, the larger the total number of metaprograms and of programs storable, and the larger the space which can be used for one or more of the currently active programs simultaneously operating. The larger the number of actuable elements in the brain the greater the abilities to simultaneously deal with the current reality program and to reinvoke a past stored-reality program. The quality of the details of the reinvoked program and the quality of the operations in the current physical reality are a direct function of the computer’s absolute functional size, all other values being equal.

There may be brains which are large enough to simultaneously project from storage into the visual field and also to function adequately in the outside environment. At least conceptually this is a possibility. This partition of the programs among various modes of operation of course are included in our definition of the general purpose nature of this particular computer.

The “consciousness program” itself is expandable and contractible within the computer’s structure within certain limits. In coma, this program is very nearly inoperative; in ordinary states of awareness it needs a fair fraction of the machinery to function. In expanded states of consciousness the fraction of the total computer devoted to its operation expands to a large value. If the consciousness is sensorially expanded maximally, there is little structure left for motoric initiation of complex interaction and vice versa. If motor initiation is expanded, the sensorial creations are reduced in scope. If neither sensorial nor motor activities are expanded, more room is available for cognition and/or feeling, etc.
The steady state values of the fractions of the total computer each devoted to a separate program at a given instant add up to the total value of one. The value of a given fraction can fluctuate with time. The places used in the computer also change.
In general there are delineable major systems of metaprograms and of programs competing for the available circuitry. The methods of categorizing these competing programs depend on the observer’s metaprograms. One system divides the competitors into visual, acoustic, proprioceptive, emotive,

027

The page contains two technical diagrams and their associated formulas, arranged vertically. The top section, labeled “Ring of Rectangular Cross Section,” presents two formulas for volume, followed by a diagram (Figure 2-20) of a rectangular cross-section ring with dimensions D, d, b, and c. The bottom section, labeled “Torus (Ring of Circular Cross Section),” presents formulas for total surface area and volume, followed by a diagram (Figure 2-21) of a torus with dimensions D, r, and R. Both sections have labeled diagrams with dimension annotations and are presented in a technical, engineering style.

Ring of Rectangular Cross Section
 $\begin{aligned} \text{volume (V)} &= \frac{\pi c}{4} (D^2 - d^2) \\ &= \left(\frac{D+d}{2}\right) \pi bc \end{aligned}$ Figure 2-20.
Torus (Ring of Circular Cross Section)
 $\begin{aligned} \text{total surface} &= 4\pi^2 R r \\ &= \pi^2 D d \end{aligned}$  $\begin{aligned} \text{volume (V)} &= 2\pi R \times r^2 \\ &= 2.463D \times d^2 \end{aligned}$ Figure 2-21.

028

The page contains a single block of dense, stylized text in a serif font, centered on the page with no visible headings or margins. The text is arranged in paragraphs with inconsistent spacing and appears to be from a translation of a literary work, possibly a fragment from a grimoire or esoteric text. The text is heavily distorted with numerous misspellings and anachronistic phrasing, suggesting a deliberate stylistic effect or a corrupted version of the original. The page is bordered on the left and right by white space, with a faint watermark or border at the top and bottom of the page. The text is in a dark, consistent color, likely black or dark gray, against a white background. The page is slightly tilted to the right, giving a sense of movement or instability. There are no illustrations or diagrams on the page. The text is written in a single column, with no breaks or divisions between the paragraphs. The text appears to be a narrative or dialogue, possibly from a fictional or mythological context, with references to figures like Zarathustra and Alpa. The overall tone of the page is intense, with a sense of urgency and fear conveyed through the use of words like “roaring,” “terrifying,” and “frightened.” The text is not clearly legible in its current state, but it is clear that it is a deliberate and stylized piece of writing, likely intended to convey a sense of mystery or danger. The page is a single, continuous block of text, with no visible breaks or divisions. The text is written in a single column, with no breaks or divisions between the paragraphs. The text is written in a single column, with no breaks or divisions between the paragraphs. The text is written in a single column, with no breaks or divisions between the paragraphs. The text is written in a single column, with no breaks or divisions between the paragraphs. The text is written in a single column, with no breaks or

I carried keys, the rustiest of all keys; and with them I knew how to open the creakiest of all gates.

Like a bitterly evil croaking the sound penetrated through the long corridors as the gate’s wings swung open; hideously this bird screeched, defiant in being awakened.

But even more terrible and heart-constricting was the silence that set in around me when the gate fell quiet, and I sat alone in this treacherous silence.

Thus the time passed and crept by me, if time existed anymore – what do I know! But at last something happened that awakened me.

Three times there were blows at the door, like thundering, and the vaults echoed and howled three times in return; then I went to the gate.

‘Alpa!’ I cried. ‘Who bears his ashes to the mountain? Alpa! Alpa! Who bears his ashes to the mountain?’⁷

And I pressed the key and lifted on the gate and strained. But it would not open even the width of a finger:

Then a roaring wind tore its wings apart; whistling, shrilling and whipping it threw down a black coffin before me:

And amidst the roaring and whistling and shrilling the coffin burst open and spewed forth thousandfold laughter.

And it laughed and mocked and roared against me from a thousand grimaces of children, angels, owls, fools and butterflies the size of children.

I was horribly frightened; it threw me to the ground. And I cried out in terror as I have never cried before.

But my own cries awakened me – and I came to. –

Thus Zarathustra related his dream and then he was silent, for he did not yet know the interpretation of his dream. But the disciple whom he loved most quickly stood up, took hold of Zarathustra’s hand and said:

029

The page is a black-and-white illustration of the Sarsen Circle at Stonehenge, shown in an isometric view with a small human figure for scale. Below the illustration, on the left, is a schematic diagram of the circle’s cross-section, labeled “Sarsen Circle,” showing the inner and outer diameters in units, with the note “1 unit = Lintel width = 3.4757 ft.” To the right of the diagram, a textual block lists measurements: “Sarsen Circle Outer Diameter = 104.3ft,” “Outer Circumference = 327.6ft,” “Inner Diameter = 97.32ft,” “Lintel Length = 10.92ft (327.6/30),” “Lintel Width = 3.475ft (10.92/π),” and “Jewish Sacred Rod = 3.4757ft.” Below this, a small circle diagram shows a radius of 3.4757485 ft, labeled as “Polar Radius / 6,000,000.” The page is signed “(after John Mitchell)” in the bottom right corner.

SARSEN CIRCLE
Inner diameter 28 units
Outer diameter 30 units
1 unit = Lintel width
= 3.4757 ft
10.92ft
SARSEN CIRCLE OUTER DIAMETER = 104.3ft
OUTER CIRCUMFERENCE = 327.6ft
INNER DIAMETER = 97.32ft
LINTEL LENGTH = 10.92ft (327.6/30)
LINTEL WIDTH = 3.475ft (10.92/π)
= LINTEL LENGTH / π
JEWISH SACRED ROD = 3.4757ft
3.4757485ft = POLAR RADIUS / 6,000,000
(after John Mitchell)

030

The page contains two tables, Table 8 and Table 9, printed in black text on a textured, light-gray background. Table 8 is titled “INTERLOCK: EXTERNAL REALITY PROGRAM” and lists seven systems under the heading “Systems,” with each item numbered 1 through 7, including typographical errors such as “Afferent,” “Efferent,” “Reticular modulating ±,” “Positive system phasing,” “Negative system phasing,” “Cortical storage and programming,” and “Built-in programs.” Below Table 8, Table 9 is titled “NARCISSISTIC STATES through electrical stimulation of the brain, drugs, programming, and isolation: basic factors are:” and lists three items, numbered 1 through 3, including “Prolonged hyperactive (+) systems,” “Hypoactivity (-) systems,” and “Attenuation of external stimuli, responses, transactions.” The text is presented in a serif font, with inconsistent capitalization and spacing, and some words are misaligned or partially obscured. The page has a slight grainy texture and faint shadows along the edges.

TABLE 8

INTERLOCK: EXTERNAL REALITY PROGRAM

Systems

Afferent
Efferent
Reticular modulating ±
Positive system phasing
Negative system phasing
Cortical storage and programming
Built-in programs

TABLE 9

NARCISSISTIC STATES through electrical stimulation of the brain, drugs, programming, and isolation: basic factors are:

Prolonged hyperactive (+) systems.
Hypoactivity (-) systems.
Attenuation of external stimuli, responses, transactions.

031

The page displays a series of figures and captions arranged in a vertical layout. At the top, Figure 13.3 is shown with a row of seven 3D-rendered shapes transitioning from a torus to a sphere, accompanied by a caption describing the transformation of a torus into a beach ball via surface tearing and gluing. Below this, Figure 10.4 is introduced with a caption defining orbifolding as a procedure for creating a new Calabi-Yau shape by gluing points on an initial one. Further down, Figure 13.2 is presented with three diagrams labeled (a), (b), and (c), illustrating spheres of two, one, and zero dimensions respectively, each with directional arrows emanating from a central point. The page contains multiple labels for geometric figures, including “Triangle,” “Tetrahedron,” and “Surface,” and includes scattered text fragments and misaligned or incomplete phrases, suggesting a partial or damaged document. The overall layout is fragmented, with overlapping text and images.

Figure 13.3 A circular piece of a doughnut (a torus) collapses to a point. The surface tears open, yielding two puncture holes. A zero-dimensional sphere (two points) is “glued in,” replacing the original one-dimensional sphere (the circle) and repairing the torn surface. This allows a transformation to a completely different shape—a beach ball.

Figure 10.4 Orbifolding is a procedure in which a new Calabi-Yau shape is produced by gluing together various points on an initial Calabi-Yau shape.

Figure 13.2 Spheres of dimensions that can be easily visualized—those of (a) two, (b) one, and (c) zero dimensions.

032

The page is a grayscale document with two tables, Table 3 and Table 4, presented in a typewritten, slightly grainy font. Table 3, titled “KINDS OF ‘STIMULI’,” lists three categories: 1. Physical specifications involving end-organs, kind and amount, timing, and patterning of energy; 2. Physiological specifications involving neuronal threshold values and patterns of neuron excitation (kind, place, impulses/second); and 3. Central nervous system specification involving number of excited neurons, location, impulse frequencies, and buildup of central state in systems. Below this, Table 4, titled “KINDS OF ‘RESPONSES’,” lists two categories: 1. Patterned musculoskeletal responses, subdivided into (A) Starting a feedback pattern with apparatus or another organism and (B) Stopping a feedback pattern; and 2. Patterned CNS biochemical states generating musculoskeletal responses, subdivided into (A) Neutral, (B) Net rewarding, (C) Net punishing, and (D) Net ambivalent. The text is misaligned and contains typos, such as “end-organs” and “neuron excitation” instead of “neuronal excitation.” The page has a faint watermark or background texture.

TABLE 3

KINDS OF “STIMULI”

Physical specifications: end-organs: kind and amount, timing, patterning of energy
Physiological specifications: neuronal: threshold values, patterns of neuron excitation (kind, place, impulses/ second)
Central nervous system specification: number of excited neurons, where, what impulse frequencies; buildup of central state in what systems, its kind.

TABLE 4

KINDS OF “RESPONSES”

Patterned musculoskeletal:

(A) Starting a feedback pattern with apparatus or with another organism (B) Stopping a feedback pattern

Patterned CNS biochemical states generating musculoskeletal responses:

(A) Neutral

(B) Net rewarding

(D) Net ambivalent

033

The page is a black-and-white image featuring a complex, abstract schematic drawing at the top, composed of intricate swirling lines, dotted curves, and various symbols, including circular and spiral motifs, with scattered small dots and cross-hatching. Below this drawing, centered at the bottom, is a block of typewritten text in a serif font, describing Guy Underwood’s 1948 dowsing around Stonehenge, the creation of a schematic of ‘earth energies,’ the first correct dating of the monument at 2650 BC, and the publication of his book ‘Pattern of the Past,’ which helped revive the ancient art of dowsing. The text is slightly blurred and misaligned, with some words appearing fragmented or distorted.

In 1948, Guy Underwood dowsed around Stonehenge, producing the above schematic of the ‘earth energies’ he sensed. He also, for the first time, correctly dated the monument at 2650 BC. His book, ‘Pattern of the Past’, helped to fuel a revival in the ancient art of dowsing.

034

The page is a two-column spread from “Liber NOX,” with the top half labeled “76” and the bottom half “77.” The top section, on page 76, contains text and symbols under the heading “THE ALPHABET OF DESIRE” in large, bold font, followed by a discussion of emotion’s dual nature and its connection to planetary god forms, Mercury, Sulphur, and Salt or Earth, each with descriptions of their emotional manifestations. Symbols for Mercury, Sulphur, and Salt are displayed with accompanying text. The bottom section, on page 77, features a table labeled “Table 2. Emotional Duality,” which lists pairs of emotions (e.g., Love/Hate, Desire/Fear) with corresponding symbols and the phrases “The principle of attraction, coming together” and “The principle of repulsion, separation, avoidance.” Below this, the text continues with a discussion of emotion’s root and a description of the 21 principles, which are equated with Tarot Trumps. The page ends with a note that “Kia is equated with the Fool.” The bottom right corner of page 77 displays “Liber NOX 77.” The layout is consistent with a grimoire, combining textual analysis, symbolic representation, and a structured table.

LIBER NULL

THE ALPHABET OF DESIRE

Except for the curious condition of laughter, which is its own opposite, emotion follows a dual pattern — love and hate, fear and desire, and so on. The following Alphabet of Desire includes all the basic root emotions arranged as complementary dualisms in a form suggestive of the classical gods, or Ruach of Kabbala.

Pagan philosophers saw human qualities mirrored in nature and cast these giant reflections of themselves as gods. It is therefore unsurprising that most pagan cosmologies contain a complete spectrum of our psychology in god form.

The main divisions of emotion have been equated with planetary god forms. Each of these principles manifests in three important forms represented here by the alchemical principles of

Mercury

Sulphur

and Salt or Earth

The Mercurial (exalting, spiritual) form indicates the cathartic, ecstatic, gnostic mode. Over-stimulation of any emotive function creates a mental paroxysm in which the whole consciousness may be caught up. This is experienced as a great release or catharsis, and at higher levels, ecstacy. Finally, the one-pointed consciousness essential to mysticism and magic may supervene in which the life force can act directly. The gnostic condition is also the key to radical changes of belief or conversion. Any belief presented in this condition is likely to be retained due to the hypersuggestibility of the vacuous state of the mind.

The Sulphurous (quickening, active) form indicates the ordinary basic drives to copulate, to destroy, to be attracted by favorable stimuli and repelled by harmful ones. This is the normal functional mode of the emotion from which the ecstatic and earthly modes are derived.

The Earthy (heavy, sluggish) form is evoked when an emotion is baulked of expression or becomes tainted with an admixture

of its opposite. It turns in on itself rather than seek fulfillment in action or escacy.

The greater duality which rules all emotions is shown in Table 2. Figure 9 on page 78 shows us that the root of every emotion is always its opposite.

Armed with this self-knowledge, the magician may ever ride the shark of his desire across the ocean of the dual principle to a gratuitous ecstacy. Anticipating the earthy disfunctional modes, he may transmute their energies and obtain his satisfaction in other forms. (An alternative desire or its sigil is made the focus of concentration in the climate of a negative emotion, it will soon be realized.)

The twenty-one principles have each been given a simple pictorial glyph and a one word mnemonic. The glyphs can be employed in various spells and sigils, but the words are mostly quite inaccurate attempts to capture a feeling. The twenty-one principles can be equated with the Trumps of the Tarot if desired.

Kia is equated with the Fool.

Table 2. Emotional Duality

Coagula	Solve
The principle of attraction, coming together.	The principle of repulsion, separation, avoidance.
Sex (C)	Death (T)
Love (♂)	Hate (T⁉)
Desire ♂	Fear
Pleasure ▲	Pain
Elation ▲	Depression

Liber NOX

035

The page displays a black-and-white circular diagram with a central black sun-like symbol radiating arrows. The diagram is divided into concentric rings, each containing text labels and symbolic glyphs. The outermost ring is segmented into sections labeled “HATE,” “FEAR,” “SEX,” “LOVE,” “DESIRE,” and “DEATH,” each corresponding to a set of associated words and symbols. The symbols appear to be custom or stylized glyphs, not standard astrological or elemental signs. The entire diagram is centered on the page, with the text and symbols arranged in a radial, symmetrical layout. There are some minor imperfections and smudges on the page, including a small mark near the top left and a faint smudge in the lower right. The text is mostly legible, though some words are slightly blurred or distorted. The page appears to be a single, uncluttered, monochrome illustration.

[No text on this page]

036

The page is a two-page spread from a grimoire, with page 100 at the bottom and page 101 at the top. The text is formatted in a dense, typewriter-style font, with the top of page 101 showing a large, black, stylized symbol — a sphere with eight arrows radiating outward — labeled “Figure 13. The Chaosphere.” Below this illustration, the text continues from the previous page’s bottom, describing the Chaosphere as a psychic singularity and a magical object. The layout is consistent with a fantasy or occult text, with the heading “THE CHAOSPHERE” in bold, uppercase letters at the top of the left column. The text is broken into paragraphs, with phrases like “It is colored the deepest black…” and “The life force may be supplied by any method…” flowing across the page. At the bottom of page 100, the text ends with a sentence about “the immanentization of the eschaton,” while the top of page 101 begins with a sentence about “the erection of operating Chaospheres.” The page is slightly faded and shows some smudges, particularly in the upper right corner. The overall impression is that of a scholarly or esoteric document, with a focus on symbolism and ritual.

THE CHAOSPHERE

The Chaosphere is the prime radiant or magic lamp of the adept — a psychic singularity which emitteth the brilliant darkness. It is a purposely created crack in the fabric of reality through which the stuff of Chaos enters our dimension. Alternatively, it may be considered as a demonstration of the axiom that belief has the power to structure reality.

The Chaosphere may be given a material form which acts as an anchor to locate its chaotic and aetheric manifestations. The shape shown in figure 13 is only one of a number of possibilities. It consists of a sphere with eight arrows radiant directed toward the vertices of a cube. Thus to the thinking mind it may be said to variously represent a perspective sculpture of the four axes of the geometrically impossible hypercube of the two interpenetrant tetrahedra of the light and dark forces. Such twists of illogic may be useful in the creation of an essentially paradoxical object.

It is colored the deepest black, for this is to give it all colors simultaneously and to provide it with the greatest potential for emission and absorption. The central sphere is hollow to permit the inclusion of various objects, and one of the arrows is detachable as a magical weapon. However the physical shape can take any form that the ingenium of the adept suggests; it is a trifling matter compared to the psychic preparation which goes into its construction.

The Chaosphere is charged and opened into the magical dimension by filling it with aetheric life force which has been paradox modulated.

The life force may be supplied by any method over which the adept has mastery — blood sacrifice, sexual emissions, projection of the body’s aetheric force of transference by concentration during ecstatic gnostic rites, or by other methods. The paradox modulation is achieved by imprinting the life force with all manner of contradiction and impossibility. Any two opposite and mutually exclusive ideas or images can be simultaneously employed — the imaginary metaphysical principles of fire and water, or Nuit and Hadit, incompatible geometrics, simultaneous blackness and whiteness, mathematical zero and infinity. Any

Figure 13. The Chaosphere.

manifestation of paradox and possibility can be used, and many different ones should be made to serve.

If the adept be operating a temple, his initiates and students may assist in formulating the Chaosphere, and it may then function as a god or fetish. The more power that is put into it, the wider will be the breach opened into the Chaos dimension and the greater will be the free Chaos energy liberated.

Once it is made it will begin to supply raw Chaos force to anyone coming into physical proximity with it. For this reason the uninitiated should be kept well away, lest they become deranged. The sphere also exists as a vortex or door through which the magical will and perception can reach easily to the other regions of existence in the manner of a powerful magical mirror. The erection of operating Chaospheres at various points about the earth will tend to hasten the immanentization of the eschaton, the change of aeon.

037

The page is divided into two columns, with the left side showing page 3 and the right side showing page 4 of a book titled “Alchemy.” The top of page 3 contains a quoted passage from alchemical language, followed by a paragraph identifying Hermes Trismegistus and his role in alchemy, including his association with Thoth and the Emerald Tablet. Below this text are illustrations of alchemical instruments labeled “Crucible,” “Dropper,” “Grille,” and “Receiver.” Beneath these illustrations, a footnote references “Tractatus aureus (1610).” Page 4 continues with the heading “Instruments (continued)” and displays more alchemical symbols, including “Retort,” “Scull,” “Still,” and “Wick.” The bottom of page 4 lists “Weights and Measures” with symbols for “Ounce,” “Dram,” “Scruple,” and “Pinch.” The page number “4” is visible at the top right of page 4.

used language such as: “When we marry the crowned king with the red daughter, she will conceive a son in the gentle fire … the dragon shuns the light of the sun, and our dead son shall live. The king comes forth from the fire and rejoices in the marriage.”

Hermes Trismegistus, also known as “Thrice Great Hermes” (it is from his name that the term the hermetic art was given to alchemy), has been variously described as an earthly incarnation of the Egyptian god Thoth and as an Egyptian priest, or a pharaoh, who taught the Egyptians all their magic. He is credited with having written several thousand books, including the Emerald Tablet, or Tabula Smaragdina, which contained all the hermetic teachings—the thirteen precepts—including the fundamental principles for the Grand Arcanum, or “great secret.” There are many references to the Emerald Tablet in alchemical writings.

Instruments

Crucible

Dropper

Grille

Receiver

Tractatus aureus (1610). The Tractatus aureus is an alchemical treatise in chapters attributed to Hermes Trismegistus.

4 Alchemy

Instruments (continued)

Retort

Scull

Still

Wick

Weights and Measures

Ounce

Dram

Scruple

Pinch

038

The page contains two pages of text, numbered 26 and 27, with a faint horizontal crease running across the center. The text is dense, typewritten, and appears slightly blurred or smudged, particularly in the middle. The page is divided into two columns: the left column contains text aligned to the left, while the right column contains a continuous paragraph. The text is written in a serif font, with some words slightly faded or smudged. The top of the page features the number “27” in the upper right corner, while the bottom of the page features the number “26” in the lower left corner. The text is written in English and discusses the nature of language, propositions, and the relationship between language and thought. The text is divided into numbered sections, with the first section labeled “4.003” and the last section labeled “4.003”. The text is written in a formal, academic style, with a focus on the structure of language and the nature of thought. The text is written in a clear, legible font, with no visible errors or mistakes. The page is divided into two columns, with the left column containing text aligned to the left, while the right column contains a continuous paragraph. The text is written in a serif font, with some words slightly faded or smudged. The page is divided into two columns, with the left column containing text aligned to the left, while the right column contains a continuous paragraph. The text is written in a serif font, with some words slightly faded or smudged. The page is divided into two columns, with the left column containing text aligned to the left, while the right column contains a continuous paragraph. The text is written in a serif font, with some words slightly faded or smudged. The page is divided into two columns, with the left column containing text aligned to the left, while the right column contains a

of the propositions and questions of philosophers arise from our failure to understand the logic of our language. (They belong to the same class as the question whether the good is more or less identical than the beautiful.) And it is not surprising that the deepest problems are in fact not problems at all.

4.0031 All philosophy is a ‘critique of language’ (though not in Mauthner’s sense). It was Russell who performed the service of showing that the apparent logical form of a proposition need not be its real one.

4.01 A proposition is a picture of reality. A proposition is a model of reality as we imagine it.

4.011 At first sight a proposition—one set out on the printed page, for example—does not seem to be a picture of the reality with which it is concerned. But neither do written notes seem at first sight to be a picture of a piece of music, nor our phonetic notation (the alphabet) to be a picture of our speech. And yet these sign-languages prove to be pictures, even in the ordinary sense, of what they represent.

4.012 It is obvious that a proposition of the form ‘aRb’ strikes us as a picture. In this case the sign is obviously a likeness of what is signified.

4.013 And if we penetrate to the essence of this pictorial character, we see that it is not impaired by apparent irregularities (such as the use [sharp] of and [flat] in musical notation). For even these irregularities depict what they are intended to express; only they do it in a different way.

A thought is a proposition with a sense.

4.001 The totality of propositions is language.

4.022 Man possesses the ability to construct languages capable of expressing every sense, without having any idea how each word has meaning or what its meaning is—just as people speak without knowing how the individual sounds are produced. Everyday language is a part of the human organism and is no less complicated than it. It is not humanly possible to gather immediately from it what the logic of language is. Language disguises thought. So much so, that from the outward form of the clothing it is impossible to infer the form of the thought beneath it, because the outward form of the clothing is not designed to reveal the form of the body, but for entirely different purposes. The tacit conventions on which the understanding of everyday language depends are enormously complicated.

4.003 Most of the propositions and questions to be found in philosophical works are not false but nonsensical. Consequently we cannot give any answer to questions of this kind, but can only point out that they are nonsensical. Most

039

This page is a composite of four black-and-white printed pages from a grimoire on alchemy, arranged in a 2x2 grid. The top-left page (page 5) is titled “Weights and Measures (continued)” and lists alchemical symbols for “Pint,” “Pound,” “Spirits,” “Copper,” “Mercury,” “Silver,” “Tin,” and “World of Spirit,” each with a corresponding symbolic glyph. The top-right page (page 6) is titled “Seasons” and displays symbols for “Spring,” “Summer,” “Autumn,” “Winter,” and under “Materials” shows “Gold (i)” through “Gold (iv),” each with a unique glyph. The bottom-left page (page 7) continues the “Materials” section with “Gold (v)” through “Gold (vii),” “Silver (i)” through “Silver (iii),” “Alum,” and “Antimony,” each with a glyph. The bottom-right page (page 8) continues “Materials (continued)” with “Arsenic-Sulfur,” “Aqua Vitæ,” “Bismuth,” “Brass,” “Burned Hartshorn,” “Burned Alum,” and “Caustic Lime,” each with a glyph. All pages are labeled with “Alchemy” at the top right and have a consistent layout of symbolic glyphs paired with their corresponding alchemical terms.

Weights and Measures (continued)
Pint
Pound
Spirits
Copper
Mercury
Silver
Tin
World of Spirit
Seasons
Spring
Summer
Autumn
Winter
Materials
Gold (i)
Gold (ii)
Gold (iii)
Gold (iv)
Materials (continued)
Gold (v)
Gold (vi)
Gold (vii)
Silver (i)
Silver (ii)
Alum
Antimony
Materials (continued)
Arsenic-Sulfur
Aqua Vitæ
Bismuth
Brass
Burned Hartshorn
Burned Alum
Caustic Lime

040

The page displays two pages of a document, numbered 28 and 29 at the top right, with dense, jumbled text that appears to be a transcription of a philosophical or linguistic treatise. The text is arranged in two columns, with lines of text running horizontally across the page, mostly in a serif font. The content is fragmented and seems to be from a source like a handwritten or typewritten manuscript, possibly a grimoire or philosophical notebook. The page has a slightly aged or faded appearance, with a margin on the right side and a faint watermark-like pattern. The text includes numbered sections (4.014, 4.015, etc.) and appears to be discussing the nature of propositions, language, and depiction, with references to musical notation, gramophone records, and hieroglyphic script. The layout is inconsistent, with some lines broken or misaligned, suggesting either a damaged print or a handwritten correction. There are no visible diagrams or illustrations on the page.

4.014 A gramophone record, the musical idea, the written notes, and the sound-waves, all stand to one another in the same internal relation of depicting that holds between language and the world. They are all constructed according to a common logical pattern. (Like the two youths in the fairy-tale, their two horses, and their lilies. They are all in a certain sense one.)

4.0141 There is a general rule by means of which the musician can obtain the symphony from the score, and which makes it possible to derive the symphony from the groove on the gramophone record, and, using the first rule, to derive the score again. That is what constitutes the inner similarity between these things which seem to be constructed in such entirely different ways. And that rule is the law of projection which projects the symphony into the language of musical notation. It is the rule for translating this language into the language of gramophone records.

4.015 The possibility of all imagery, of all our pictorial modes of expression, is contained in the logic of depiction.

4.016 In order to understand the essential nature of a proposition, we should consider hieroglyphic script, which depicts the facts that it describes. And alphabetic script developed out of it without losing what was essential to depiction.

4.02 We can see this from the fact that we understand the sense of a propositional sign without its having been explained to us.

4.021 A proposition is a picture of reality: for if I understand a proposition, I know the situation that it represents. And I understand the proposition without having had its sense explained to me.

4.022 A proposition shows its sense. A proposition shows how things stand if it is true. And it says that they do so stand.

4.023 A proposition must restrict reality to two alternatives: yes or no. In order to do that, it must describe reality completely. A proposition is a description of a state of affairs. Just as a description of an object describes it by giving its external properties, so a proposition describes reality by its internal properties. A proposition constructs a world with the help of a logical scaffolding, so that one can actually see from the proposition how everything stands logically if it is true. One can draw inferences from a false proposition.

4.024 To understand a proposition means to know what is the case if it is true. (One can understand it, therefore, without knowing whether it is true.) It is understood by anyone who understands its constituents.

4.025 When translating one language into another, we do not proceed by translating each proposition of the one into a proposition of the other, but merely by translating the constituents of propositions. (And the dictionary translates not only substantives, but also verbs, adjectives, and conjunctions, etc.; and it treats them all in the same way.)

041

This page is a composite of four black-and-white printed pages from an alchemical grimoire, arranged in a 2x2 grid. The top-left page is labeled “Alchemy 9 Materials (continued)” and displays eight alchemical symbols for materials: Chalc, Cinder, Cinnibar, Clay, Copper, Cribbled Ashes, Crystal, Eggshells. The top-right page is labeled “Alchemy 10 Materials (continued)” and shows eight more: Ginger, Glass, Gravel, Iron, Iron Filings, Lime, Magnesia, and a misprinted “Magnesia” (should be “Magnesium”). The bottom-left page is labeled “Alchemy 11 Materials (continued)” and lists: Manure, Mercury, Nickel, Niter Flowers, Niter Oil, Nitric Acid, Potash, Red Arsenic. The bottom-right page is labeled “Alchemy 12 Materials (continued)” and includes: Rock Salt, Sea Salt, Soapstone, Soot, Steel, Sugar, Sulfur. Each material is paired with a unique, stylized alchemical symbol, often incorporating geometric or abstract forms. Some material names are misprinted (e.g., “Cinnibar” on page 9, “Niter” for “Nitric Acid” on page 11, “Potash” for “Potash” on page 11, “Sulfur” for “Sulfur” on page 12). The layout is consistent across all pages, with a grid of two columns and four rows per page, containing the symbol and its name beneath it. The text “Materials (continued)” is repeated at the top of each page, indicating a running list of substances used in alchemy.

Materials (continued)

Chalc

Cinder

Cinnibar

Clay

Copper

Cribbled Ashes

Crystal

Eggshells

Materials (continued)

Ginger

Glass

Gravel

Iron

Iron Filings

Lime

Magnesia

Materials (continued)

Manure

Mercury

Nickel

Niter Flowers

Niter Oil

Nitric Acid

Potash

Red Arsenic

Materials (continued)

Rock Salt

Sea Salt

Soapstone

Soot

Steel

Sugar

Sulfur

042

The page contains a dense, fragmented text with numbered sections (4.026 through 4.05) from a philosophical or logical treatise, likely Ludwig Wittgenstein’s Tractatus Logico-Philosophicus. The text is arranged in a non-sequential, left-aligned columnar format with irregular spacing and broken lines. The font is serif, and the text appears slightly faded or blurred, suggesting an aged or scanned document. At the top right corner, the number “24” is visible, indicating the page number. The content discusses the nature of propositions, their relationship to situations, the role of logical constants, and the multiplicity of mathematical structures. It includes references to Hertz’s mechanics and the concept of “spatial spectacles” as inadequate for explaining spatial relations. The text is interspersed with phrases like “Ambulo” and “tableau vivant,” suggesting a focus on linguistic and logical form. The bottom of the page contains a paragraph that begins with “4.05 Reality is compared with propositions.” The page has a faint horizontal line across the middle, possibly from a fold or crease.

4.026 The meanings of simple signs (words) must be explained to us if we are to understand them. With propositions, however, we make ourselves understood.

4.027 It belongs to the essence of a proposition that it should be able to communicate a new sense to us.

4.03 A proposition must use old expressions to communicate a new sense. A proposition communicates a situation to us, and so it must be essentially connected with the situation. And the connexion is precisely that it is its logical picture. A proposition states something only in so far as it is a picture.

4.031 In a proposition a situation is, as it were, constructed by way of experiment. Instead of, ‘This proposition has such and such a sense, we can simply say, ‘This proposition represents such and such a situation’.

4.0311 One name stands for one thing, another for another thing, and they are combined with one another. In this way the whole group—like a tableau vivant—presents a state of affairs.

4.0312 The possibility of propositions is based on the principle that objects have signs as their representatives. My fundamental idea is that the ‘logical constants’ are not representatives; that there can be no representatives of the logic of facts.

4.032 It is only in so far as a proposition is logically articulated that it is a picture of a situation. (Even the proposition, ‘Ambulo’, is composite: for its stem with a

different ending yields a different sense, and so does its ending with a different stem.)

4.04 In a proposition there must be exactly as many distinguishable parts as in the situation that it represents. The two must possess the same logical (mathematical) multiplicity. (Compare Hertz’s Mechanics on dynamical models.)

4.041 This mathematical multiplicity, of course, cannot itself be the subject of depiction. One cannot get away from it when depicting.

4.0411 If, for example, we wanted to express what we now write as ‘(x). fx’ by putting an affix in front of ‘fx’—for instance by writing ‘Gen. fx’—it would not be adequate: we should not know what was being generalized. If we wanted to signalize it with an affix ‘g’—for instance by writing ‘f(xg)‘—that would not be adequate either: we should not know the scope of the generality-sign. If we were to try to do it by introducing a mark into the argument-places—for instance by writing ‘(G,G). F(G,G)’ —it would not be adequate: we should not be able to establish the identity of the variables. And so on. All these modes of signifying are inadequate because they lack the necessary mathematical multiplicity.

4.0412 For the same reason the idealist’s appeal to ‘spatial spectacles’ is inadequate to explain the seeing of spatial relations, because it cannot explain the multiplicity of these relations.

4.05 Reality is compared with propositions.

043

The page is a two-column, multi-page spread from an alchemical grimoire, showing materials and processes with corresponding symbolic sigils. The top half is split into two pages: page 13 (left) and page 14 (right), both under the heading “Materials (continued)”. Page 13 lists materials like Tin, Urine, Verdigris, Vinegar, Vitriol, White Arsenic, Wine Spirit, and Wood, each with a unique black sigil. Page 14 continues with materials such as Yellow Arsenic, Yellow Wax, Zinc, and processes like Blackening (melanosis), Whitening (leucosis), Yellowing (xanthosis), and Reddening (iosis), each with a corresponding symbol. Below this, page 15 (left) and page 16 (right) continue under “Processes (continued)”. Page 15 lists processes including Amalgam, Amalgamation, Boil, Compose, Distill, Essence, Fumes, and Filter, each with a sigil. Page 16 lists more processes: Mix, Powder, Purify, Rot, Sublime, Pulverize, Solve, and Take, each with a sigil. The text is printed in a serif font, and the symbols are stylized, often resembling abstract or runic forms. The layout is consistent, with each material or process accompanied by its own symbol and a label beneath it. The page has a faded, aged appearance, with visible creases and slight discoloration.

Materials (continued)
Tin
Urine
Verdigris
Vinegar
Vitriol
White Arsenic
Wine Spirit
Wood
Materials (continued)
Yellow Arsenic
Yellow Wax
Zinc
Processes
Blackening (melanosis)
Whitening (leucosis)
Yellowing (xanthosis)
Reddening (iosis)
Processes (continued)
Amalgam
Amalgamation
Boil
Compose
Distill
Essence
Fumes
Filter
16 Alchemy
Processes (continued)
Mix
Powder
Purify
Rot
Sublime
Pulverize
Solve
Take

044

The page contains a mix of text, mathematical constants, symbols, and definitions, arranged in distinct sections. At the top, a paragraph of text discusses “Magical training” and its purpose. Below this, a section titled “MATHEMATICAL CONSTANTS” lists various formulas and their numerical values, including powers of π, reciprocals, roots, logarithms, and combinations involving π and 2. Underneath, a section labeled “MATHEMATICAL SYMBOLS” defines common operators: × or · for multiplication, ÷ for division, = for equality, + for addition, and - for subtraction. Finally, at the bottom, a section titled “DIGITAL CODES” defines digital codes as a system of symbols representing data values for computer understanding and communication, with a partial sentence ending mid-sentence. The page number “120” appears in the bottom right corner. The layout is dense, with text and formulas arranged vertically across the page.

Magical training is designed to open up the neglected dream level, to provoke an examination of the contents of the robotic level, and to add new programs to it. It should also teach the method of turning awareness on or off at will, and of entering the gnostic level and acting within it.
MATHEMATICAL CONSTANTS
 $\pi = 3.1416$ 
 $(2\pi)^2 = 39.4786$ 
 $\pi^2 = 9.8696$ 
 $4\pi = 12.5664$ 
 $\pi^3 = 31.0065$ 
 $\frac{\pi}{2} = 1.5708$ 
 $\frac{1}{\pi} = 0.3183$ 
 $\sqrt{\frac{\pi}{2}} = 1.2533$ 
 $\frac{1}{\pi^2} = 0.1013$ 
 $\sqrt{2} = 1.4142$ 
 $\frac{1}{\pi^3} = 0.0323$ 
 $\sqrt[3]{2} = 1.7321$ 
 $\frac{1}{\pi^4} = 0.7725$ 
 $\sqrt[4]{2} = 1.0642$ 
 $\frac{1}{\pi^5} = 0.5642$ 
 $\sqrt[5]{2} = 1.0323$ 
 $\frac{1}{\pi^6} = 0.1592$ 
 $\log \pi = 0.4971$ 
 $\log \pi^2 = 0.9943$ 
 $\log \sqrt{\pi} = 0.2486$ 
 $\log \frac{\pi}{2} = 0.1961$ 
 $\left(\frac{1}{2\pi}\right)^2 = 0.0253$ 
 $2\pi = 6.2832$ 
MATHEMATICAL SYMBOLS
× or · Multiplied by.
÷ Divided by.
= Equals.

Positive, add, and plus.

Negative, subtract, and minus.
DIGITAL CODES
A digital code is defined as a system of symbols that represent data values and make up a special language that a computer or a digital circuit can understand and use. Digital codes can be considered to be the digital “languages” that permit information to be stored, manipulated, and communicated. Just as there are numerous spoken

045

The page displays a grid of electronic schematic symbols for semiconductor devices, organized in rows and columns under the heading “Electronic Schematic Symbols” and a subheading “SEMICONDUCTOR DEVICES”. Each symbol is accompanied by labels for its terminals (e.g., Anode, Cathode, Base, Emitter) and a name of the device it represents (e.g., Diode or Rectifier, Avalanche Diode, Integrated Voltage Regulator, Tunnel Diode, n-p-n Transistor, p-n-p Transistor, Photo Transistor, Unijunction Transistor, Complementary Unijunction Transistor, Programmable Unijunction Transistor, Silicon Controlled Rectifier, Complementary Silicon Controlled Rectifier, Light Activated Silicon Controlled Rectifier). The symbols are drawn in black ink on a white background, with some text appearing slightly blurred or faded. At the bottom right corner, the text “Figure 4-3A” is visible, followed by the number “10” to its right. The page has a faint, grainy texture, suggesting it may be a scanned or aged document.

Figure 4-3A

046

The page is a handwritten note on lined paper from a spiral-bound notebook, with a vertical spiral binding on the right. At the top, written in cursive, is the title “Goddess” followed by “Scholars, Scribes, & Independent Researchers.” Below this title is a hand-drawn diagram of a neuron, labeled with “axons” on the left, “cell body” in the center, and “dendrite” on the right, each with arrows pointing to corresponding structures. Beneath the diagram are three more hand-drawn diagrams of neurons, each labeled with “intake,” “translates,” and “output,” respectively. Below these, the text reads “mutual aid: freedom of knowledge” and “knowledge of freedom.” Further down, the text continues with “inherent fluidity due to Celine’s law” and “each individual is an agent of intelligence.” The next line reads “decentralized intelligence agency” and “fertile environment for ideas to evolve and replicate.” Following this, a large arrow points to a drawing of an eye, which is followed by the text “each new increases of the by an magnitude” and “number (gildmate).” Below this, a circular diagram with arrows pointing outward is drawn, labeled “the plasticity” and “neural network.” Finally, the text reads “order of” and “create new” followed by “metaneural networks.”

GODDESS Scholars, Scribes, & Independent Researchers

axons intake

cell body translates

dendrite output

mutual aid: freedom of knowledge knowledge of freedom inherent fluidity due to Celine’s law each individual is an agent of intelligence decentralized intelligence agency fertile environment for ideas to evolve and replicate

each new increases of the by an magnitude

number (gildmate) the plasticity neural network order of create new in

metaneural networks

047

The page, labeled “Figure 4-3B” at the bottom center, is divided into three main sections with black-and-white schematic diagrams on a white background. The top section, under the heading “SEMICONDUCTOR DEVICES,” displays symbols for various semiconductor components, including Silicon Controlled Switch (SCS), Silicon Unilateral Switch (SUS), Silicon Bilateral Switch (SBS), Diac, and a 7-segment LED indicator. The middle section, labeled “7-SEGMENT LED INDICATOR,” shows two pin diagrams: one for a Common Cathode Display and another for a Common Anode Display, each with labeled segments (a through g) and pin numbers (1–14), with a note that a decimal point (D.P.) is available for right-hand, left-hand, or universal display. The bottom section, titled “COMPUTER SYMBOLS,” contains symbols for basic logic gates: AND Gate, OR Gate, Inverter, NAND Gate, NOR Gate, and Exclusive-OR Gate, each with labeled inputs (A, B) and outputs (A+B, A or B, etc.), with a minor typographical error in the label “Exclusive-OR Gate” reading “Exclusive-OR” instead of “Exclusive OR”. The page number “108” is visible in the bottom right corner.

Figure 4-3B

048

The page is handwritten on lined paper, featuring a title at the top: “THE ART OF MEMETICS & - U.Mrch & Wilson.” Below, the text begins with “Requisite variety - number of options available to a component of an interaction, sente in Go.” followed by “Distinct advantage.” Then, it lists “3 points in response process in which to increase variety:” with subpoints for “input,” “output,” and “processing,” each with a brief description. Further down, it mentions “Feedback loop - 2 cycles of info to evaluate a system” and “processing steps possible = inputs * outputs (Standard Learning Cycle) * outcomes desired.” The page includes a diagram-like structure with arrows connecting “Unconscious Incompetence” to “conscious: identify,” “model,” “practice,” and “unconscious competence,” which is further linked to “what doing” and “what not doing.” At the bottom, bolded text reads “Watch what OTHERS ARE DOING THAT YOU DO NOT!” with a note below it: “ARE YOU DO NOT!” The handwriting varies in clarity and style, with some words slightly smudged or overlapping. The page also contains a small, hand-drawn diagram resembling a cyclical or feedback loop with arrows and symbols.

THE ART OF MEMETICS & - U.Mrch & Wilson

Requisite variety - number of options available to a component of an interaction, sente in Go.

Distinct advantage.

3 points in response process in which to increase variety:

input: increase subtlety of distinctions, number of patterns recognizable
output: number of responses possible.
processing: arrange connections between input & output + most efficiently

Feedback loop - 2 cycles of info to evaluate a system

processing steps possible = inputs * outputs (Standard Learning Cycle) * outcomes desired

Unconscious Incompetence

conscious: identify
model
practice
unconscious competence

what doing what not doing

Watch what OTHERS ARE DOING THAT YOU DO NOT!

049

The page, labeled “Figure 4-3C” at the bottom center, is a black-and-white schematic chart titled “Electronic Schematic Symbols—(Cont)” at the top. It is organized into a grid of 5 rows and 3 columns, each containing a category of electronic components with their corresponding schematic symbols and labels. The top row shows “PIEZELECTRIC CRYSTALS” with three symbols for “Frequency Determining,” “Monaural,” and “Stereo,” alongside “BATTERIES” with symbols for “One-Cell” and “Multicell.” The second row contains “RESISTORS” with symbols for “Fixed,” “Variable,” and “Tapped,” and “GROUNDS” with symbols for “Grounds.” The third row lists “WIRING” with symbols for “Wires Connected” and “Wires Crossed,” and “LAMPS” with symbols for “Filament” and “Neon.” The fourth row displays “INDUCTORS” with symbols for “Air Core,” “Powdered-Iron Core,” and “Iron Core,” alongside “FUSES” with symbols for “Fuse” and “Fuse.” The fifth row includes “TRANSFORMERS” with symbols for “Power,” “Auto Transformer,” and “Variable Core,” and “METERS” with symbols for “Ammeter,” “Voltmeter,” and “Microammeter.” The bottom row features “SPEAKERS” with symbols for “General,” “Dynamic,” and “Electrostatic,” alongside “HEADPHONES” with symbols for “Double,” “Single,” and “Stereo.” The page number “1na” is visible in the bottom right corner.

Figure 4-3C

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The page is a black-and-white document with a central circular diagram. The circle is divided into eight segments by radial lines, each segment containing handwritten Japanese characters. At the center of the circle is a white, elongated oval shape with a grid-like internal pattern. The page has a vertical crease down the middle, suggesting it may be a folded or booklet page. There are faint smudges and marks on the paper, including a small dark spot near the top center. The page has a slightly aged or worn appearance, with some creasing along the edges and a faint watermark or mark in the upper right corner. The text appears to be handwritten or typed in a non-standard script, possibly a stylized or decorative font. The overall layout is symmetrical, with the circular diagram centered and the text evenly distributed around it.

[No text on this page]

051

The page, labeled “Figure 4-3D” at the bottom center, is a black-and-white technical chart titled “Electronic Schematic Symbols—(Cont)” at the top. It is organized into a grid of rows, each containing a category of electronic components and their corresponding schematic symbols. The first row shows capacitor symbols: Fixed, Variable, Polarized, Non-Polarized, and Spark Plate. The second row displays microphone symbols with a note to indicate type by note (e.g., Ceramic, Crystal, Dynamic). The third row shows circuit breaker symbols. The fourth row illustrates shield symbols: Shielded Wire, Shielded Assembly, and Shielded Pair. The fifth row depicts jack symbols for non-polarized and polarized types. The sixth row shows antenna symbols: General, Telescoping, Dipole, and Loop. The seventh row presents magnetic recording head symbols, with a note to indicate type by letter (R=Record, P=Playback, E=Eraser). The page number “110” is at the bottom right.

Figure 4-3D

052

The page contains a single block of dense, typewritten text in a serif font, centered and left-aligned on a white background with slight page wear. The text is arranged in paragraphs with varying line lengths and spacing, some lines fragmented or broken mid-sentence. The topmost line reads “To the Vulgar Understanding of Man the Wisdom of Sigils is to be spoken of in the following manner:-”. The text progresses through several paragraphs, each discussing the nature of sigils, their relationship to will, desire, belief, and nature, and their symbolic or magical function. The text becomes increasingly abstract and esoteric, culminating in a section titled “I: Sigillum Alogos, the Omnipresent Linear Matrix,” followed by a series of poetic or ritualistic phrases in a stylized, non-standard language. The final lines are fragmented and appear to be a conclusion or invocation. The page has no visual graphics, only the black text on white paper. The bottom right corner has a faint smudge or mark.

To the Vulgar Understanding of Man the Wisdom of Sigils is to be spoken of in the following manner:-

A Sigil is a lineal articulation of the Will through the automatism of the Hand, subject to the aesthetic dictations of the Eye, and realised through the Oracle of the Mind as a means to manipulating the secret forces of Nature.

A Sigil is the result of the simplification of a complex of energies exist- ing on many levels - emotional, noumenal, spiritual and so on - in order to make those energies transmutable in accordance with Belief, Desire, and Will. This simplification is expressed by the Will via the creation of an Alphabet embodying Desire - a cipher of curvilinear images or Sacred Letters which can accumulate Belief and serve to bind great power. The Sacred Letters embody the transmutable states of Nature and thus express its Primal Sexuality - the Magical Power Itself.

It is thus that the Wisdom of Sigils is to be understood in such a way as to be of some comprehension to the Mortal Reason of Man. But know ye that this explanation is but a Veil of the Arcanum, for the Sacred Alphabet is the Tongue of the Old Gods that were before Man and the mortal gods of Man. It is beyond the Minds of those born solely of the Clay. Let the Wise draw nigh and attain to its Sacred Knowledge.

I: Sigillum Alogos, the Omnipresent Linear Matrix.

The One Sigil unformulated; its Totality unknowable in its own abstraction.

Its minimal infinity made known as the first stroke carv’d by the Hand of Man - the Line of I and the Sign of the First Numerical Integer - the One Sigil formulated…

From the Initiating Monad - the Dyad of the Geminus and the Union of Point with Point through the First Space defined as Lineal Dimension.

Thus the Negatively-Existent I and the Positively-Existent I create ‘I’: theSelf.

The Sexuality of the Absolutes through their One Desire establish that which is of all Nature: the Endless Round of the Sabbat’s Grand Venery betwixt all Entity, the Interplay of Power betwixt all Points and Paths.

For I in Pure Self-Sexuality am ever more intimate with Thee, who art the Satyr and the Nymphe in untold multitudes of Bodies.

In Pan-symmetry of the First Sigil the Whole Is:

From the single facet known and the primal identity sensed at all Points of its Percept, the Whole Sigil and the Perfect’d State of Entity are Illuminate!

053

The page is titled “GLYPHS” at the top center in bold, uppercase letters. Below it, the word “VALUES” is centered in a smaller font. Under “VALUES,” a row of eight black-and-white minimalist icons is displayed, each paired with a label: INSIGHT, FAITH, DELIGHT, EMPATHY, INTEGRITY, POWER, HARMONY, and others. Beneath that, the word “ACTIONS” appears, followed by a row of eight icons with labels: CREATE, CONNECT, EXPLORE, EXPRESS, LEARN, UNDERSTAND, PROTECT, REFLECT, CHALLENGE, TRANSCEND, COMBINE, TRANSFORM, TRANSITION, TRANSFUSE. Next is the section labeled “ARTIFACTS,” containing eight icons with labels: TRUTH, ENERGY, PATH, PROBLEM, EVIDENCE, PROJECT, DOCUMENT, IN PROGRESS, RESEARCH, FINDINGS, IDEA, QUESTION. Then, “DISCIPLINES” is centered, followed by a row of eight icons labeled: EXPERIENCE DESIGN, USER EXPERIENCE, CREATIVE, CONTENT, TECHNOLOGY, STRATEGY, SALES, and others. Finally, the section labeled “MISCELLANEOUS” contains eight icons with labels: DRINKING, BABY, LOVE, BEST, WORST, TEAM, FRIENDS, and others. The layout is clean, with a white background and black text/icons, arranged in a grid format with clear section headings.

GLYPHS

VALUES

INSIGHT

FAITH

DELIGHT

EMPATHY

INTEGRITY

POWER

HARMONY

ACTIONS

CREATE

CONNECT

EXPLORE

EXPRESS

LEARN

UNDERSTAND

PROTECT

REFLECT

CHALLENGE

TRANSCEND

COMBINE

TRANSFORM

TRANSITION

TRANSFUSE

ARTIFACTS

TRUTH

ENERGY

PATH

PROBLEM

EVIDENCE

PROJECT

DOCUMENT

IN PROGRESS

RESEARCH

FINDINGS

IDEA

QUESTION

DISCIPLINES

EXPERIENCE DESIGN

USER EXPERIENCE

CREATIVE

CONTENT

TECHNOLOGY

STRATEGY

SALES

MISCELLANEOUS

DRINKING

BABY

LOVE

BEST

WORST

TEAM

FRIENDS

054

The page contains dense, stylized text in a gothic or runic font, centered on a white background with a faint border. The text is arranged in paragraphs with varying indentation and spacing, beginning with a large, capitalized heading: “FORMULA OF THE SIGILLUM AZOETIA.” Below this heading, the text continues in a continuous block, with lines of varying lengths and alignments. The page has a single page number, “125,” at the bottom right. The text is written in a mixture of English and invented terms, using archaic and symbolic language, with phrases like “the Aeon of all Truth,” “the Divine Quill,” “the Papyrus of his Skin,” and “the Sigillum Azoetia.” The overall layout is uneven, with some lines left-aligned and others centered, creating a sense of rhythm and emphasis. There are no images or diagrams, only text. The font is serif, with inconsistent capitalization and spacing, suggesting a deliberate stylistic choice to evoke an arcane or mystical tone.

In the Heart of the First Sorcerer the Instant of this Realisation is the Aeon of all Truth. It is the Moment when the Divine Quill, dipp’d in the blood of his own heart, touches the Papyrus of his Skin to transmit the Word-Sigils of Gnosis. Verily, it is the Nativity of the Purity of Witchblood, whose Seed is cast throughout all Time and formeth the Flesh of the High Sabbat’s Covine.

I, that am witness to this Revelation, call now upon Thee in the Name Unknown and Incommunicable, that I - in the Trans-aeonic Sabbat of this Moment - may become the Void betwixt Points, the Embodied Transvocation of all Invocation and Evocation of the Magical Power. For in the Instant of Illumination is the primary moulding of the Azoth: the Auto-creation of the Ancient One of Spirit in the Body of the Blest.

Sacred Knowledge or Gnosis is realised through Visionary Illumination and is intuited and tacitly known by the Wise-born through the Perfection of their Being during the cycles of metempsychosis, that is, in passing through the Secret Initiations of Incarnation and Discarnation. The Sacred Knowledge is embodied in those that are of the Sodality of Cain - of One Sacred Flesh, True-born of Witchblood and to the One Spirit sworn.

In the Passions of Witchblood the Holy Knowledge of the Ancients is an Ever-Open Book. The Wise need not recite its Verses, for they are its Words made manifest.

Blessed are they that know in Silence.

Blessed are they that give the Silence a Voice of Wisdom!

FORMULA OF THE SIGILLUM AZOETIA

I:- Sigillum Azoetia, call’d ‘The Map of Possibility’, the Sinistral and Dextral Sigil of the Perfected Sorcerer’s Being as both Negatively and Positively Existent; the Linear Graph of the One Sabbat, Empyrean, Earthly and Infernal; of Old, seen by the Wise as the Web of Fate and of Destiny: the Net of Enchantment cast by the Ancient One. In Timely Revelation made known: the sublimation of the Omnipresent Linear Matrix to visible articulation, the Patterner of all Aeons and the Complex of the Sacred Geometry…

By whose Points, omnipresently focused, I walk beyond every Star;

By whose Paths, linking Star with Star,

I conjoin Self with Self throughout all Possibility;

By whose Spaces I dwell apart from the Integral States of Entity and exist solely in the Non-modality between Forms;

By whose Intersections I unite Path with Path - to go forth as the Sphinx of Many Beasts and the God of Many Faces, an Army in number as the Sand-grains of the ocean shore;

And by whose Contemplation I awaken the One Sigil Within and thus am made Illuminate!

055

A black-and-white guide titled “HOMELESS CITY GUIDE” is presented on a white background. At the top, the title is centered in large, bold, uppercase letters. Below the title, a vertical list of icons with corresponding labels describes various urban conditions: “squat,” “empty building,” “dangerous neighbourhood,” “danger,” “guard dogs,” “an attack happened here,” “good place to drink / smoke,” “unfriendly place,” “friendly place,” “soup run (with rating),” “strong police presence,” “potential for work,” “good food thrown away here,” “safe for sleeping,” “message board x mins that way,” “security guard,” and “you’ll get moved on here.” To the right, two illustrated steps are shown: Step 1 depicts a chalkstick labeled “chalk,” and Step 2 shows a person with a backpack drawing a house icon on a wall. Below the illustrations, the text reads “MAKE YOUR MARK AND HELP OTHERS TO READ THE CITY” followed by a smaller line: “Make non permanent marks to keep the system up to date and stay within the law.” At the bottom, the text “Designed by Emily Read” and “the Pavement” appear. The entire page is in grayscale, with a clean, minimalist layout.

HOMELESS CITY GUIDE

step 1

step 2

MAKE YOUR MARK AND HELP OTHERS TO READ THE CITY

Make non permanent marks to keep the system up to date and stay within the law.

the Pavement

056

The page contains black text on a white background, with a single centered title in all caps: “THE EIGHT PATHS OF SIGILLIC WISDOM.” Above the title, a paragraph begins with “Magick teacheth not the Truth but imparteth the Signs whereby ye may…” and ends with “For it is given unto Thee by Thine own Hand.” Below the title, a series of poetic invocations follow, including “O’ Hand of Man!” and “O’ Hand of I!”, each followed by lines of ritualistic or esoteric instruction. The page concludes with a numbered list, labeled “1.” and “2.” and “3.” (with “3.” cut off), detailing three paths of sigillic wisdom, each beginning with “By the Power of…” and describing received knowledge or powers tied to specific divine or infernal contexts. The text is written in a serif font, centered on the page, with varying line lengths and indentation. The page has a faint watermark or smudge near the top center.

Magick teacheth not the Truth but imparteth the Signs whereby ye may come to know the Truth: In the Book of the Arcane Cipher of Magick is the Clavicle of all Knowledge. Beware and Revere! For it is given unto Thee by Thine own Hand.

THE EIGHT PATHS OF SIGILLIC WISDOM

O’ Hand of Man! Who art Fivefold in Thine extension through the Senses of the Flesh and the Sign of Xenar, here dwell within the Shadow of Thine Adamantine Forms and therein be conjunct unto the Azoetic Icons of the Ancient One.

All Immortal Scripts of Holy Witchdom, by the Motion of the Hand in the Eight Paths, be thus transmitted unto the Books held in the Circle of the Earthly Sabbat.

O’ Hand of I!

Give forth the Sacred Alphabet in its Perfection of Form, Translated in Ekstasis unto the Parchment of Man.

Give forth the Books that are yet in Shadow.

Give forth the Sacred Gestures of the Elder Gods, whereby in Silence I will speak.

O’ Hand of Man! Unto these Arcana, attend and bear witness!

Here follow the Eight Paths whereby the Sigillick Forms of Gnosis are revealed:-

By the Power of the Sacred Dreaming within the Empyrean Conclaves of the High Sabbat the Loftiest and All-Powerful Signs of Sorcery are received: the Eleven Grand Sigils of the Azoetic Cells. By the Very Hands of the Goddess and the God are they given unto Thee.
By the Power of the Blessed Sight within the Circle of the Earthly Sabbat; by Vision and by Trance, there are Mighty Glyphs of Magick to be harvested. From the Tines of the One Tree, which are the Avenues of Ingress for the Powers and Spirits from the Stellar Points unto the Earth, take ye the Sigils of the Path of Ascent.
By the Powers of the Shadow and of the Great Watcher Within, Thine Eye shall open in the Conclaves of the Infernal Sabbat, and therein, from Thine Ancestors, receive the Signs of their Legacy unto Thee: the Tokens of the Sabbat and the Totemick Emblems of Thy Soul’s Brethren - the Secret Keys unto Thy Forebears’ Power.

057

The page, numbered 150 and titled “Magical Alphabets,” displays three distinct magical alphabets: the Angelic or Celestial, the Enochian, and the Enochian (a misprint of the same). The Angelic alphabet is shown at the top with its own stylized symbols and corresponding standard letters A–M, followed by N–Z. Below it is the Enochian alphabet, also with stylized symbols and standard letters A–M, followed by N–Z. The text beneath each alphabet explains their origins and characteristics. The Angelic alphabet is described as being so-called because it was thought to tie in with the placing of the stars. The Enochian alphabet is described as originating from the system of magic introduced by Dr. John Dee in the sixteenth century, used by the Hermetic Order of the Golden Dawn and Aleister Crowley, and noted for being unrelated to any previous lettering system with its own unique grammar. The page is black and white, with a clear layout of alphabets and accompanying text.

Magical Alphabets

Angelic, or Celestial

This magical alphabet was so-called because it was thought to tie in with the placing of the stars.

Enochian

The Enochian magical alphabet comes from the system of magic introduced by Dr. John Dee (Astrologer Royal to Queen Elizabeth I) in the sixteenth century. It became a part of the Hermetic Order of the Golden Dawn and was used by such magicians as Aleister Crowley. Enochian is interesting in that the alphabet appears unrelated to any previous lettering system and the language has its own unique grammar.

058

The page contains a single block of dense, stylized text in a serif font, centered on a white background. The text begins with a line of prose: “And from the Roots of the Old Tree take ye Runes; for these are the Avenues of Ingress for the Powers and Spirits from the Stellar Points in the Depths unto the Earth. Heed ye the Sigils of the Path of Descent.” Below this, numbered lines 4 through 8 are arranged vertically, each starting with “By the Hand in…” or similar phrases, with increasingly complex and esoteric terminology involving automatism, ciphering, dreams, signs, and natural forces. The text is broken into paragraphs by line breaks, with no visible margins or headers. Line 8 continues into a list of sources (“From the Stars…” etc.), followed by a concluding paragraph describing the “Eight Strokes of the Sabbatic Cross” and “Sacred Geometry.” The page has minor imperfections: a small smudge or mark near the top-left corner and a faint horizontal line near the bottom-right. The font is consistent throughout, with no visible page numbers or decorative elements.

And from the Roots of the Old Tree take ye Runes; for these are the Avenues of Ingress for the Powers and Spirits from the Stellar Points in the Depths unto the Earth. Heed ye the Sigils of the Path of Descent.

By the Hand in the Automatism of Possession, the Signs of Calling and Binding are received: the Words of the Summons unto the Summoner.
By the Hand in the Automatism of the Emotions and the Senses, the Sigils of the Apotheoses of Sensation are made known. Let the instants of pure and poignant emotive force control the Vessel of the Hand in automatic script. Thus the Cipher of Thy Heart and Senses shall be known.
By the Hand in the Automatism of Sleep the Signs and Visions of Dreams unremembered are brought forth.

By the Hand in the Automatism of the Praedormitium the physical sensations of Dreams remaining in the Flesh upon waking are given Form and Line. In the immediacy of Waking the articulation of Dreamt Sensation through the Auto-aestheticism of the Hand and the Eye reveals the Cipher of Half-Sleep and unveils the Keys of Forgotten Dreams.

By the Union of Signs encoding the Secret Wishes of the Heart Thou shalt fashion a Cipher; by the conjunction of Letters, Sacred and Mundane, form ye Glyphs in the Tongue of Desires. Let Hand, Eye and Quill be guided in the Auto-aestheticism of Sexual Reverie, thus to fashion the Spells of Bewitchment, Glamour, Attraction, Enchantment and Metamorphosis.
By the Hand as the Witness of the Eye, from Thy Vision of the World as a Whole, draw ye Signs embodying and conveying the forces and bodies of Nature:-

From the Stars in their motion upon the Wheels of Heaven; From the movements and postures of the Beasts in the Earth’s Quarters; From the Tides of the Water and the Tides of the Earth’s Powers; From the Directions of the Winds and from the Boughs of Trees; From the Casting of the Sacred Fetishes of Bone, Shell and Stone within the Circle of the Earthly Sabbat; From the Shadows of Sun, Moon and Star; From the Shadows in the Mirror’s Abyss. From All - such as stirreth Thee to Inspiration and Illumination - Reveal ye the Ciphers of Becoming, Being and Ceasing-to-Be - whereby the Twin Faces of Yesterday and Tomorrow are known as Thine.

By the Eight Strokes of the Sabbatic Cross conjoined with the Paths of the Serpent, by the line of the Tree conjoined with the ophidian quality of the curve, the Idol call’d ‘Nature’ is transmuted through the Sacred Geometry of the Azoetic Sign, the Web of all Fate and the Map of all Possibilities.

059

The page displays a grid of 12 black-and-white rune symbols, each labeled with a name and a short description of its function, arranged in three rows of four. The top row features Aegishjalmur (protection, irresistibility in battle), Vegvisir (Runic compass, prevent getting lost), Gapaldur (Success in combat), and Ginfaxi (Courage in combat). The middle row shows Odin’s Illusionary Rune (Camouflage & deception), Hræthigaldur (Put fear in enemy), Ottastafur (Put fear in enemy), Svefnthorn (“Sleep thorn” — Place beheath pillow or bed for restful sleep), Powerful binding of prisoner, and Lásabrjótur — “lock breaker” (Break locks & fetters, Get free from bindings). The bottom row includes Gibu Auja (good luck), Good health, Healing, End strife, and Peace. Below these symbols, a separate section contains a list of runes in a handwritten style, labeled “Runes, Anglo-Saxon—Ruthwell,” arranged in two lines of irregularly spaced characters.

Aegishjalmur protection, irresistibility in battle

Vegvisir Runic compas prevent getting lost

Gapaldur Success in combat

Ginfaxi Courage in combat

Odin’s Illusionary Rune Camouflage & deception

Hræthigaldur Put fear in enemy

Ottastafur Put fear in enemy

Svefnthorn - “Sleep thorn” Place beheath pillow or bed for restful sleep

Powerful binding of prisoner

Lásabrjótur - “lock breaker” Break locks & fetters Get free from bindings

Gibu Auja good luck

Good health

Healing

End strife

Peace

FUTHORC GWHN I JéP

060

The page is a black-and-white document with a header titled “GREEK ALPHABET.” Below the title, a paragraph states that the Greek alphabet is given in Table 4-6 and that items for which each letter is a symbol are listed in Table 4-7. The page contains two tables. The first, labeled “Table 4-6. Greek Alphabet,” is a two-column table with headers “Letter” (split into Small and Capital) and “Name.” It lists 14 Greek letters, their small and capital forms, and their names, arranged in two columns. The second table, labeled “Table 4-7. Greek Symbol Designations,” has two columns: “Symbol” and “Designates.” It lists Greek symbols alongside their various scientific designations, including terms like “Angles,” “Magnetic induction,” “Permittivity,” and “Energy.” The page number “111” appears at the bottom right. The layout is structured with clear table headers and rows, and the text is presented in a serif font.

GREEK ALPHABET

The Greek alphabet is given in Table 4-6. The items for which each letter is a symbol are listed in Table 4-7.

Table 4-6. Greek Alphabet

Letter		Name	Letter		Name
Small	Capital	Name	Small	Capital	Name
α	A	Alpha	ν	N	Nu
β	B	Beta	ξ	Ξ	XI
γ	Γ	Gamma	ο	O	Omicron
δ	Δ	Delta	π	Π	Pi
ε	E	Epsilon	ρ	P	Rho
ζ	Z	Zeta	σ	Σ	Sigma
η	H	Eta	τ	T	Tau
θ	Θ	Theta	ν	Υ	Upsilon
ι	I	Iota	φ	Φ	Phi
κ	K	Kappa	χ	X	Chi
λ	Λ	Lambda	ψ	Ψ	Psi
μ	M	Mu	ω	Ω	Omega

Table 4-7. Greek Symbol Designations

Symbol	Designates
α	Angles, angular acceleration, coefficients, absorptance, linear current density
β	Angles, phase coefficient, transfer ratio
B	Magnetic induction
γ	Electrical conductivity, propagation coefficient, specific quantity
Γ	Reciprocal inductance, propagation constant
Γ_e	Electric constant
Γ_m	Magnetic constant
δ	Density, damping coefficient, angles, sign of variation
Δ	Permittivity, determinant
ε	Linear strain; capacitivity, permittivity, base of natural logarithms
ε_b	Complex dielectric constant
ε_r	Relative capacitivity, relative permittivity, dielectric constant
ε_t	Total emissivity
ε₁	Electric susceptibility
ε_λ	Emissivity (a function of wavelength)
Ε	Energy, electric field strength
ζ	Coordinate, coefficients
Z₀	Characteristic impedance, surge impedance
η	Permeability, efficiency, modulation index (fm)
H	Magnetic field strength
θ	Temperature, volume strain, angular phase displacement, angle

061

The page displays a table titled “Table 4-7 Cont. Greek Symbol Designations” with two columns: “Symbol” and “Designates.” The symbols are primarily Greek letters, with some Latin letters like “K,” “λ,” “Λ,” “μ,” “ν,” “N,” “ξ,” “π,” “ρ,” “σ,” “Σ,” “τ,” “φ,” “Φ,” “χ,” “ψ,” “Ψ,” “ω,” “Ω,” and others. The “Designates” column lists various physical quantities and concepts each symbol represents, including thermal conductivity, wavelength, frequency, permeability, electric flux, resistance, and angular velocity. The text is arranged in a tabular format with clear alignment, and the page contains no illustrations or diagrams. The content is technical and appears to be from a reference or textbook.

Table 4-7 Cont. Greek Symbol Designations

Symbol	Designates
ᵔ	Length
ᵔ	Thermal conductivity, coupling coefficient, Blotzmann’s constant, circular and angular wave number
ᵔ	Eddy-current coefficient
ᵔ	Form factor
ᵔ	Hysteresis coefficient
K	Electric field strength; luminous efficiency, susceptibility
λ	Conductivity, wavelength, linear density charge
λ_e	Critical wavelengths
λ_g	Wavelength in a guide
λ_f	Resonance wavelength
Λ	Logarithmic decrement, magnetic flux linkage
μ	Amplification factor, Poisson’s ratio, permeability
μ_i	Magnetic susceptibility
μ_o	Initial (relative) permeability
μ_r	Relative (magnetic) permeability
μ_v	Permeability of vacuum
ν	Frequency, Poisson’s ratio, reluctance
N_a	Avogadro’s constant
ξ	Coordinates
π	3.1416 (circumference divided by diameter)
ρ	Volume density of charge, resistivity, cylindrical coordinates
ρ_o	Thermal resistivity
σ	Wave number, normal stress, surface density of change
Σ	Sign of summation
τ	Time constant, shear stress, transmittance
1/τ	Signaling speed
φ	Angle (plane), electrostatic potential, phase angle
Φ	Heat flow, radiant power, luminous flux, magnetic flux
Φ_r	Radiant power
Φ_v	Luminous flux
χ	Cartesian coordinate
χ_e	Electric susceptibility
χ_m	Magnetic susceptibility
ψ	Angle (plane)
Ψ	Electric flux
ω	Angle, angular frequency, angular velocity
ω_e	Critical angular frequency
ω₁	Synchronous angular frequency
ω_r	Resonance angular frequency
Ω	Resistance in ohms, angles (solid)

062

The page is a dense, structured linguistic chart detailing phonetic symbols for consonants, vowels, and suprasegmentals. At the top, it features a vowel chart with front, central, and back vowels, each with close, close-mid, open-mid, and open categories, and symbols like i̥, u̥, ə̥, etc., with a note that paired symbols have the right one as voiced. Below this, a large table categorizes consonants by place of articulation (Bilabial, Labiodental, Dental, etc.) and manner (Plosive, Nasal, Trill, etc.), with symbols like p, b, t, d, etc., and some cells empty or shaded (denoting impossible articulations). Beneath the consonant table is a section for “OTHER SYMBOLS,” listing symbols like M (voiceless labial-velar fricative), W (voiced labial-velar approximant), U (bilabial click), and others, with a note that paired symbols have the right one as voiced. Then comes “SUPRASEGMENTALS,” which includes stress marks, tone symbols, and contour symbols like ̃ (long), ̆ (half-long), ̄ (extra high), etc., with symbols like ě̥, ̄, etc., for tone and contour. The bottom section lists “TONES & WORD ACCENTS,” with symbols for rising, falling, high, low, etc., and symbols like ̈ for syllable break, ̈ for minor (foot) group, etc., with notes on linking, global rise/fall, etc. The entire page is a comprehensive phonetic reference chart with symbols arranged in a structured, grid-like format, with notes on voicing, articulation, and usage.

CONSONANTS

	Bilabial	Labiodental	Dental	Alveolar	Postalveolar	Retroflex	Palatal	Voiced	Uvular	Pharyngeal	Glottal
Plosive	p b			t d		t d	c j	k q	g		?
Nasal	m	m̥		n		η	ŋ	n̥		N
Trill	B			r						R
Tap or Flap				r̥		t̥
Fricative	φ β f v		θ ð	s z	∫ ʒ	§ z̥	ç j	x y	χ k	ħ ʃ	h fi
Lateral fricative		l̥		l̥	∫ ʒ	§ z̥	ç j	x y	χ k	ħ ʃ	h fi
Approximant	ʊ			ɪ̥		l̥		ɪ̥
Lateral approximant		l̥		l̥		l̥		l̥
Ejective stop	p’			t̥		t’	c’	k̥	q’
Implosive	β b			t̥ d		c̥ f	ʃ	k̥ f	d̥ c’

Where symbols appear in pairs, the one to the right represents a voiced consonant. Shaded areas denote articulations judged impossible.

VOWELS

Front Close i̥ y̥ Close-mid e̥ ə̥ Open-mid æ̥ v̥ Open ḁ œ̥ d̥

Central i̥ u̥ U̥ X̥ o̥ Ḁ c̥

Back w̥

Where symbols appear in pairs, the one to the right represents a rounded vowel.

OTHER SYMBOLS

M Voiceless labial-velar fricative

W Voiced labial-velar approximant

U Bilabial click

Dental click

(Post)alveolar click

Alveolar lateral click

Alveolar lateral flap

Simultaneous ∫ and X

3 Additional mid central vowel

Affricates and double articulations can be represented by two symbols joined by a tie bar if necessary.

SUPRASEGMENTALS

Primary stress

Secondary stress

TONES & WORD ACCENTS

CONTOUR

Long

e̥ or ʌ

Extra high

ě̥ or ʌ

Rising

Half-long

e̥

High

ê̥

Falling

Extra-short

ě̥

Mid

ě̥

High rising

Syllable break

jɪ.ækt

Minor (foot) group

e̥

Low

ě̥

Low rising

Major (intonation) group

e̥

Extra low

ě̥

Rising-falling etc.

Linking (absence of a break)

Global rise

Global fall

063

The page contains two distinct sections. The top section is titled “Table 4-13. Equivalent Numeric Representations in Decimal, Binary, Hexadecimal, and Octal Codes” and presents a four-column table listing numbers from 0 to 15 in Decimal, Binary, Hexadecimal, and Octal formats. The bottom section is titled “THE INTERNATIONAL CODE” and presents two tables: the first lists the Morse code for letters A–Z, Question Mark, Error, and Wait; the second lists Morse code for letters M–Z, Period, Comma, and End of Message. Both tables use a simple, aligned layout with letters on the left and Morse code symbols on the right. The text is clear and legible, with no visible graphics or diagrams.

Table 4-13. Equivalent Numeric Representations in Decimal, Binary, Hexadecimal, and Octal Codes

Decimal	Binary	Hexadecimal	Octal
0	0000	0	0
1	0001	1	1
2	0010	2	2
3	0011	3	3
4	0100	4	4
5	0101	5	5
6	0110	6	6
7	0111	7	7
8	1000	8	10
9	1001	9	11
10	1010	A	12
11	1011	B	13
12	1100	C	14
13	1101	D	15
14	1110	E	16
15	1111	F	17

THE INTERNATIONAL CODE

A	—
B	—…
C	—.—.
D	—.—
E	.
F	..—.
G	—.—.
H	…
I	.—.
J	—.—.—
K	—.—.
L	—.—.—
Question Mark	.—.—.—
Error	…
Wait	—.—.—

M	—.—
N	—.—.
O	—.—.—
P	—.—.—.
Q	—.—.—.—
R	—.—.
S	…
T	—
U	.—.—
V	…
W	—.—.—
X	—.—.—.—
Period	—.—.—.—
Comma	—.—.—.—
End of Message	—.—.—.

064

The page is a black-and-white document titled “INTERNATIONAL Q SIGNALS” at the top center. Below the title is a paragraph explaining the origin and use of Q signals, noting they were first adopted for maritime communication to avoid language barriers and are now used by amateurs as a standardized abbreviation system, with each signal having both affirmative and interrogative forms (denoted by a question mark). The text concludes by stating the most common Q signals are listed in Table 3-3. Below this, a table labeled “Table 3-3. Q Signals” is presented with three columns: “Signal,” “Question,” and “Answer or Advice.” The table lists 18 Q signals from QRG to QTH, each with its corresponding interrogative question and affirmative response. The page number “70” appears at the bottom center. The layout is structured with clear headings and a simple three-column table. The text is slightly faded and has minor typographical errors, such as “experiencing” instead of “experiencing” and “readability” instead of “readability.”

INTERNATIONAL Q SIGNALS

The international Q signals were first adopted to enable ships at sea to communicate with each other or to foreign shores without experiencing language difficulties. The signals consist of a series of three-letter groups starting with Q and having the same meaning in all languages. Today, Q signals serve as a convenient means of abbreviation in communications between amateurs. Each Q signal has both an affirmative and an interrogative meaning. The question is designated by the addition of the question mark after the Q signal. The most common Q signals are listed in Table 3-3.

Table 3-3. Q Signals

Signal	Question	Answer or Advice
QRG	Will you tell me my exact frequency?	Your exact frequency is … kHz (or MHz).
QRH	Does my frequency vary?	Your frequency varies.
QRK	What is the readability of my signals?	The readability of your signals is …
QRM	Are you being interfered with?	I am being interfered with.
QRN	Are you troubled by static?	I am troubled by static.
QRO	Shall I increase power?	Increase power.
QRP	Shall I decrease power?	Decrease power.
QRQ	Shall I send faster?	Send faster.
QRS	Shall I send more slowly?	Send more slowly ( … words per minute).
QRT	Shall I stop sending?	Stop sending.
QRU	Have you anything for me?	I have nothing for you.
QRV	Are you ready?	I am ready.
QRX	When will you call again?	I will call you again at … hours [on … kHz (or MHz)].
QSA	What is the strength of my signals?	The strength of your signals is …
QSB	Are my signals fading?	Your signals are fading.
QSL	Can you acknowledge receipt?	I am acknowledging receipt.
QSM	Shall I repeat the last message I sent you?	Repeat the last message you have sent me.
QSO	Can you communicate with … direct or by relay?	I can communicate with … direct (or by relay through …).
QSV	Shall I send a series of V’s?	Send a series of V’s.
QSY	Shall I change to transmission on another frequency?	Change to transmission on another frequency [or on. . kHz (or MHz)].
QSZ	Shall I send each word or group twice?	Send each word or group twice.
QTH	What is your location?	My location is …

065

This page, labeled “Astrology 37,” features a black-and-white diagram with astrological symbols and text. At the top, the heading “The Moon’s Nodes” is followed by a paragraph explaining that the Moon’s orbit intersects the ecliptic (the apparent orbit of the Sun around the Earth) every nineteen years, and the points of intersection are called the Moon’s nodes. Below this, two symbols are shown: the Ascending Node (a U-shaped symbol) and the Descending Node (a U-shaped symbol with two circles). Beneath these, a grid of symbols is presented under the heading “Aspects,” including: Opposition (two circles connected by a line), Conjunction (a circle with a line extending from it), Semisextile (a V-shape), Semisquare (a right angle), Sextile (a starburst), Quintile (a curved Q), Square (a square), Trine (a triangle), Sesquiquadrate (a square with a diagonal), and Quincunx (a triangle with a line extending from it). The page also includes the symbols for: Hour (a circle with a horizontal line), Day (a diamond shape), Day & Night (two circles with a line), Month (an envelope shape), Week (a square with a line), and Year (a circle with a line). The page is printed on aged paper with some smudges and stains.

The Moon’s Nodes

The moon’s orbit intersects with the ecliptic (the apparent orbit of the sun around the earth) every nineteen years. The points where the moon’s orbit intersects the plane of the ecliptic are called the moon’s nodes.

Ascending Node

Descending Node

Hour

Day

Day & Night

Month

Week

Year

Aspects

Opposition

Conjunction

Semisextile

Semisquare

Sextile

Quintile

Square

Trine

Sesquiquadrate

Quincunx

066

The page displays a two-column table titled “Table 3-5. Revised Official 10-Code of Associated Police Communication Officers, Inc.” The table is organized into two sets of columns: “Signal” and “Meaning” on the left, and “Signal” and “Meaning” on the right, each listing police radio codes (from 10-1 to 10-78) and their corresponding verbal communications. The left side lists codes 10-1 through 10-39, with meanings ranging from “Unable to copy—change location” to “Urgent—use light and siren,” while the right side lists codes 10-40 through 10-78, including entries like “Silent run—no light or siren” and “Need assistance.” The page has a page number “72” at the bottom center. The text is arranged in a clear, structured grid with alternating rows and columns. Some entries have dots or abbreviations like “F, PI, PD” indicating additional context or location details. The layout is consistent with a reference manual, with no decorative elements or images.

Table 3-5. Revised Official 10-Code of Associated Police Communication Officers, Inc.

Signal	Meaning	Signal	Meaning
10-1	Unable to copy—change location	10-40	Silent run—no light or siren
10-1	10-41	Beginning tour of duty
10-2	Signals good	10-42	Ending tour of duty
10-3	Stop transmitting	10-43	Information
10-4	Acknowledgment	10-44	Request permission to leave patrol for …
10-5	Relay	10-44
10-6	Busy—stand by unless urgent	10-45	Animal carcass in … lane at …
10-7	Out of service, (Give location and/or telephone number)	10-45
10-8	In service	10-46	Assist motorist
10-9	Repeat	10-47	Emergency road repairs needed
10-10	Fight in progress	10-48	Traffic standard needs repairs
10-11	Dog case	10-49	Traffic light out
10-12	Stand by	10-50	Accident—F, PI, PD
10-13	Weather and road report	10-51	Wrecker needed
10-14	Report of prowler	10-52	Ambulance needed
10-15	Civil disturbance	10-53	Road blocked
10-16	Domestic trouble	10-54	Livestock on highway
10-17	Meet complainant	10-55	Intoxicated driver
10-18	Complete assignment quickly	10-56	Intoxicated pedestrian
10-19	Return to …	10-57	Hit and run—F, PI, PD
10-20	Location	10-58	Direct traffic
10-21	Call … by telephone	10-59	Convoy or escort
10-22	Disregard	10-60	Squad in vicinity
10-23	Arrived at scene	10-61	Personnel in area
10-24	Assignment completed	10-62	Reply to message
10-25	Report in person to …	10-63	Prepare to make written copy
10-26	Detaining subject, expedite	10-64	Message for local delivery
10-27	Drivers license information	10-65	Net message assignment
10-28	Vehicle registration information	10-66	Message cancellation
10-29	Check records for wanted	10-67	Clear to read net message
10-30	Illegal use of radio	10-68	Dispatch information
10-31	Crime in progress	10-69	Message received
10-32	Man with gun	10-70	Fire alarm
10-33	EMERGENCY	10-71	Advise nature of fire (size, type, and contents of building)
10-34	Riot	10-71
10-35	Major crime alert	10-72	Report progress on fire
10-36	Correct time	10-73	Smoke report
10-37	Investigate suspicious vehicle	10-74	Negative
10-38	Stopping suspicious vehicle (give station complete description before stopping)	10-75	In contact with En route
	10-76	ETA (Estimated Time of Arrival)
	10-77	ETA (Estimated Time of Arrival)
10-39	Urgent—use light and siren	10-78	Need assistance
10-39		10-78

067

The page, numbered 73, contains a table titled “Table 3-5 Cont. Revised Official 10-Code of Associated Police Communication Officers, Inc.” which lists police radio signals and their meanings, divided into two columns. Below this, a section titled “AUDIO-FREQUENCY SPECTRUM” describes the human hearing range (15 Hz to 20,000 Hz) and mentions Figure 3-3, which includes musical instrument ranges and broadcasting media. Following this, a section titled “RADIO-FREQUENCY SPECTRUM” states that the radio spectrum from 3 kHz to 3,000,000 MHz is divided into bands for easier identification, referencing Table 3-6. Table 3-6, labeled “Frequency Classification,” categorizes frequencies into bands with corresponding classifications and abbreviations, such as vlf for very low frequencies and shf for super-high frequencies. The table spans from 3 kHz to 3 THz, with bands labeled by frequency range, band number, classification, and abbreviation. The page appears slightly faded with a grayscale tone, and the text is in a serif font, typical of technical or reference material.

Table 3-5 Cont. Revised Official 10-Code of Associated Police Communication Officers, Inc.

Signal	Meaning	Signal	Meaning
10-79	Notify coroner	10-90	Bank alarm
10-82	Reserve lodging	10-91	Unnecessary use of radio
10-84	Are you going to meet …, if so advise ETA.	10-93	Blockade
10-84		10-94	Drag racing
10-85	Will be late	10-96	Mental subject
10-87	Pick up checks for distribution	10-98	Prison or jail break
10-88	Advise telephone No. to contact	10-99	Records indicated wanted or stolen

AUDIO-FREQUENCY SPECTRUM

The audio-frequency spectrum is generally accepted as extending from 15 Hz to 20,000 Hz. Figure 3-3 shows the frequency range of various musical instruments and of other sounds. The frequency range shown for each sound is the range needed for faithful reproduction, and includes the fundamental frequency and the necessary harmonic frequencies. The frequency range of the human ear, and the various broadcasting and recording media, are also included in Figure 3-3.

RADIO-FREQUENCY SPECTRUM

The radio-frequency spectrum of 3 kHz to 3,000,000 MHz is divided into the various bands (shown in Table 3-6) for easier identification.

Table 3-6. Frequency Classification

Frequency	Band No.	Classification	Abbreviation
3—30 kHz	4	Very low frequencies	vlf
30—300 kHz	5	Low frequencies	lf
300—3000 kHz	6	Medium frequencies	mf
3—30 MHz	7	High frequencies	hf
30—300 MHz	8	Very high frequencies	vhf
300—3000 MHz	9	Ultrahigh frequencies	uhf
3—30 GHz	10	Super-high frequencies	shf
30—300 GHz	11	Extremely high frequencies	ehf
300 GHz—3 THz	12

068

The page is a grayscale document with a left-aligned list of hierarchical levels from I to XI, each paired with a descriptive label and a right-aligned definition or descriptor. The list is titled “Levels” at the top left. The entries are arranged vertically, with level numbers on the far left and descriptions to the right. Notably, “SELF-METPROGRAM” is boxed. To the right of this list, a vertical column of terms appears, including “above and in Biocomputer,” “beyond metaprogramming,” “to be metaprogrammed,” “to metaprogram,” “to program sets of programs,” “detailed instructions,” “details of instructions,” “signs of activity,” “brain,” “body,” and “external reality.” Below the list, a paragraph begins with “Each part of each level has feedback-control relations…” and continues with explanations of feedback connections and an example involving Levels VI through IX and X. A parenthetical note (“(Note: See text and glossary for definitions of terms used)”) follows. The bottom section describes boundaries between levels and their associated physical phenomena, followed by a paragraph detailing the purpose of labeling levels IV through XI as “Unknown” and listing six purposes for this designation. The page has a faint watermark-like vertical strip along the right margin and a slight shadow or smudge near the bottom right.

Levels

XI UNKNOWN

X SUPRA-SPECIES-METAPROGRAMS

IX SUPRA-SELF-METAPROGRAMS

VIII SELF-METPROGRAM — awareness

VII METAPROGRAMS METAPROGRAM STORE

VI PROGRAMS PROGRAM STORE

V SUBROUTINES SUBROUTINE STORE

IV BIOCHEMICAL ACTIVITY—NEURAL ACTIVITY—GLIAL ACTIVITY—VASCULAR ACTIVITY

III BIOCHEMICAL BRAIN—NEURAL BRAIN—GLIAL BRAIN—VASCULAR BRAIN

II BIOCHEMICAL BODY—SENSORY BODY—MOTOR BODY—VASCULAR BODY

I BIOCHEMICAL—CHEMICAL—PHYSICAL EXTERNAL REALITY

above and in Biocomputer beyond metaprogramming to be metaprogrammed to metaprogram to program sets of programs detailed instructions details of instructions signs of activity

brain

body

external reality

Each part of each level has feedback-control relations with each part, indicated by the connecting lines. Each level has feedback-control with each other level. For the sake of schematic simplicity, many of these feedback connections are not shown. One example is an important connection between Levels VI through IX and X; some built-in, survival programs have a representative at the Supraself-metaprogram Level as follows: “These programs are necessary for survival; do not attenuate or excite them to extreme values; such extremes lead to non-computed actions, penalties, illness, or death.” After construction, such a Metaprogram is transferred by the Selfmetaprogram to the Supraself-metaprograms and to the Supraspecies-metaprograms for future control purposes.

(Note: See text and glossary for definitions of terms used)

The boundaries between the body and the external reality are between Levels I and II; certain energies and materials pass this boundary in special places (heat, light, sound, food, secretions, feces). Boundaries between body and brain are between Levels II and III; special structures pass this boundary (blood vessels, nerve fibers, cerebro-spinal fluid). Levels IV through XI are in the brain circuitry and are the software of the Biocomputer. Levels above Level X are labeled “Unknown” for the following purposes: (1) to maintain the openness of the system, (2) to motivate future scientific research, (3) to emphasize the necessity for unknown factors at all levels, (4) to point out the heuristic nature of this schema, (5) to emphasize unwillingness to subscribe to any dogmatic belief without testable reproducible data, and (6) to encourage creative courageous imaginative investigation of unknown influences on and in human realities, inner and outer.

069

The page displays a black-and-white horizontal bar chart, labeled “Figure 3-3” at the bottom center, showing the frequency response of various sound sources and systems across a logarithmic frequency scale from 20 Hz to 20 kHz. The chart is divided into horizontal bands, each representing a different source or system, with labels written to the right of each bar. The vertical axis on the left lists frequency markers (20 Hz, 30 Hz, 40 Hz, etc., up to 20 kHz). The horizontal axis at the bottom shows the frequency scale in Hz and kHz. The bars vary in length and position, indicating the frequency range each source or system covers. The labels include “AM Radio,” “FM Radio,” “Magnetic Tape Recording,” “Disc Recording,” “35-mm Film Recording,” “Human Ear,” “Wide Range Speaker System,” “Key Jingles,” “Female Speaking Voice,” “Male Speaking Voice,” “Hand Clapping,” “Footsteps,” “Chimes,” “Triangle,” “Piccolo,” “Oboe,” “Violin,” “Trumpet,” “Clarinet,” “Xylophone,” “Trombone,” “Bass Drum,” “Tuba,” “Pipe Organ,” “Piano 88 Note,” and “Bass Viola.” Some labels appear to have typographical errors, such as “35-mm Film Recording” and “Bass Viola” instead of “Bass Violin” and “Bass Viola” being misprinted. The chart visually represents the frequency range each source or system covers, with longer bars indicating a wider frequency range. The chart is presented in a clear, organized manner, with each bar corresponding to a specific source or system.

Figure 3-3.

070

The page is a single, slightly aged, off-white sheet with black serif text, centered and formatted in a dense, left-aligned block. At the top left, a small, stylized emblem resembling a leaf or quill appears next to the heading “XII.25” in a bold, capitalized font. Below this, the text continues in a continuous paragraph, formatted in a single column. The text is mostly legible, though some words are slightly smudged or faded, especially near the bottom of the page. The paragraph is split into two distinct sections: the first discusses the memory techniques of classical orators, referencing Frances Yates and the use of physical spaces as a framework for memorization; the second section discusses Isocrates and the structure of his orations, including the five-part framework known as proemio, expositio, narratio, refutatio, and exhortatio. The text is slightly uneven, with some words appearing misaligned or smudged, suggesting wear or poor print quality. The bottom of the page shows a faint, blurred watermark or smudge, possibly from a previous mark or fold. The overall layout is simple and academic, with no additional illustrations or design elements beyond the header.

XII.25

FRANCES YATES (The Art of Memory)

tells us that classical orators memorized long and complicated speeches in the following way. Early in his career each orator walked through the rooms of some large building, first memorizing the layout, then noting in a fixed sequence the hundreds of architectural details and pieces of furniture contained in each room. Having internalized these physical forms in a specific sequence, he then used them as an arbitrary abstract framework to which he could “attach” the sequential details of a particular speech. A hallway might become a logical transition, a pediment a disclaimer, a couch an accusation. Using these means, the orator could gain a virtue necessary to all good memories: a general mental framework containing niches into which particular data or devices could be fitted.

The preferred model for classical orations was also, among other things, a kind of memory device. The Greek orator Isocrates (436–338 B.C.) perfected an oratorical structure which was to influence speakers and writers for over 2,000 years. Each Isocratic oration was composed of five major sections — known in Latin as proemio, expositio, narratio, refutatio and exhortatio — whose order did not deviate. Each of these sections, moreover, had its own beginning, middle and end. These divisions were not merely arbitrary forms; they performed a logical function and appealed to basic psychological needs. Using them, even fledgling orators could locate themselves and maintain their train of thought during long speeches; accomplished orators could extemporize convincingly. Their example suggests a precept which applies to all memory: to remember anything well, we must understand its general structure.

071

The page contains a black-and-white line drawing centered on a textured, off-white background, appearing as a scan or print of a page. At the top, a dashed circle encloses a diamond-shaped pyramid oriented vertically, with its apex pointing upward. Within the pyramid, multiple concentric horizontal lines and dashed circles are drawn, suggesting energy levels or fields. Above the pyramid’s apex, a fan-like pattern of dashed lines radiates outward. Below the pyramid, a similar dashed circle encloses a mirrored, inverted pyramid. The entire diagram is surrounded by a larger dashed circular outline. Beneath the diagram, the caption reads “Figure 4: Pyramidal Energy Dynamics,” though it appears to be misprinted, with “Pyramidal” and “Pyramidal” and “Pyramidal” appearing multiple times.

Figure 4: Pyramidal Energy Dynamics

072

The page is headed with the title “Occult Machines” in a large, centered serif font at the top. Below the title, the text is divided into two paragraphs, written in a smaller serif font, with the first paragraph discussing the benefits of occult machines for sorcerers, including efficiency, speed, energy economy, and the ability to perform complex magical workings simultaneously. The second paragraph contrasts occult machines with mundane machines and tools, defining the distinction based on power source (magick for occult, mechanical for mundane), and provides examples of how tools and machines are categorized in both mundane and occult contexts. The text concludes with a final paragraph explaining that occult machines are fueled by subtle energies to produce a specified result, and that while they may resemble mundane devices in function, their input/output methods make them decidedly occult, using the satellite imaging system and remote viewing helmet as examples. The page has a clean, white background with no illustrations or decorative elements.

Occult Machines

The creation and implementation of occult machines is a potent method of overcoming challenges in addition to making one’s magical life somewhat easier. Like their more mundane counterparts, occult machines serve to allow the sorcerer to accomplish feats and complete tasks with more consistency, speed, and economy of energy. Again, in a fashion similar to their mundane counterparts, by design occult machines empower the sorcerer to create very complex magical workings by performing multiple functions in simultaneously. While the machine performs a multitude of simple magical functions the sorcerer is free to focus full attention upon working with even more powerful and complex magicks, thus the machine allows the sorcerer to perform magical acts that are otherwise in most cases too difficult, complex, or taxing.

The fundamental difference between a mundane machine and an occult machine is that the occult machine is powered by magick, and its primary functions are magical processes. There is a distinction between tools and machines, in both the mundane and occult worlds. A person using a crowbar to lever open a locked door is considered to be using a tool. In the same way a magus using a wand to aid in the casting of a spell is also considered to be using a tool. Though a person using a satellite imaging system to explore our planet’s surface is considered to be the using of a machine. Similarly, a person using a remote viewing helmet that has been outfitted with sigils, a loadstone monocle, and other augmentations to explore our planet’s surface would be considered to be using an occult machine.

An occult machine, by its nature, is a device that is fueled by subtle energies in order to produce a specified result. In many ways occult machines are closely associated with other mundane devices in that they produce similar results to their counterparts, it is their input/output methods that make them decidedly occult. Take the afore mentioned satellite imaging system and the remote viewing helmet. They both allow the user to see

073

The page is a black-and-white illustration centered on a vertically oriented, geometrically detailed crystal or pendant. The object is enclosed within a large circle, which itself is inscribed with a diamond shape. The crystal is depicted with horizontal lines suggesting layers or facets, and its top and bottom points are sharp, resembling a pyramid. Above and below the central image, there are symmetrical patterns of dashed lines radiating outward, resembling rays or energy emanations. At the bottom of the page, the caption reads “Figure 11: Auric Amplifying Pendant,” though the text is partially blurred and misaligned. The page has a faint, textured background, suggesting aged paper, and the overall layout is symmetrical and centered.

Figure 11: Auric Amplifying Pendant

074

The page contains a single block of text in a serif font, left-aligned, with no visible headers, footers, or margins. The text discusses occult technology, specifically comparing a “remote viewing helmet” powered by magical energy to a “satellite tech” powered by electricity. It explains that the helmet focuses magical energy toward remote viewing, enabling tasks like scrying and auric scanning, and that its use requires magical capacity, knowledge, and understanding of its process. The text also notes that while some occult machines are personal and tied to their creator, others function regardless of who uses them, and that some machines have no mundane counterparts. The page ends mid-sentence, cutting off the final phrase “how to activate the”. The text is dense, with no illustrations, diagrams, or layout elements beyond the paragraph structure.

visual representations of their intended targets. The satellite tech is fueled by electricity, while the remote viewing helmet is fueled by magical energy. Because the helmet’s function is to focus magical energy towards remote viewing, the energy gains that resonance as it passes from the helmet to the wearer. Also the various occult augmentations like the sigils and loadstone monocle, perform basic magical tasks like scrying, empowerment, and auric scanning, the sorcerer is better able to concentrate on the much more difficult task of tightening the focus and resolution of the remote viewing images and impressions. Granted, there are enough differences that to compare these two machines too closely would become a pointless exercise. Though, to illustrate the point, they will be said to be similar. It should also be noted that there are a great many magical and mundane machines that have no counterpart or likeness amongst the other group of machines. So while the remote viewing helmet is similar to the satellite system, the Eloigning Clock, which will be discussed at length momentarily, has no known functional counterpart amongst mundane machines.
It has been stressed in other texts that personal relevance is of paramount importance in the practicing of magick. Occult machines, due to their technological nature, are to some degree one of the few exceptions to that guideline. The entire function of an occult machine is that it will work regardless of who is using it at the time. Naturally there are several factors involved in using an occult machine. One must have some idea what the machine’s function is, have the magical capacity and knowledge to activate the machine and control its use, and be able to perceive its process and results. Again using the remote viewing helmet as an example, if one sorcerer was to create the helmet it would of course have been created as a machine very personally relevant for its creator, and would carry with it the creator’s personal style and taste. Though all another sorcerer would have to do to use the helmet for their own purposes would be to perceive its primary purpose, which would be remote viewing. Then find out how to activate the

075

The page displays a black-and-white illustration on textured paper, centered around a large, detailed crystal at the bottom of the image, with dashed lines radiating outward from its base. Surrounding this central crystal are twelve smaller crystals, arranged symmetrically in a circular pattern around it. Each of the twelve crystals is depicted in a similar style, with simple geometric outlines. The entire illustration is captioned at the bottom with the text “Figure 7: Twelve-Crystal Gridwork System,” written in a serif font. The page has a slightly aged appearance, with faint vertical lines suggesting the texture of paper or a crease. There are no other elements or text on the page besides the illustration and caption.

Figure 7: Twelve-Crystal Gridwork System

076

The page contains a single block of dense, left-aligned text in a serif font, with no headers, footers, or margins explicitly visible. The text is divided into two main paragraphs. The first paragraph begins with “machine, which would likely be empowering a sigil or some other such symbolic & lock & key& mechanism” and continues through “all cars are designed and function the same way. So it is with magical machines. What follows are two further examples of the author’s own occult machines, the Witchengine and the Eloigning Clock…”. The second paragraph begins with “The Witchengine is a multi-purpose occult machine that acts at once like a portable generator of magical energy and a resonance filter…” and continues through the end of the page, detailing the design and function of the Witchengine. The text is slightly irregular, with some typos and inconsistent spacing, and appears to be from a handwritten or typed manuscript. There are no illustrations, diagrams, or decorative elements on the page.

machine, which would likely be empowering a sigil or some other such symbolic & lock &
key& mechanism. Then the user would have to have the ability to focus and infuse the
machine with magical energy, then the sorcerer would be free to use the machine for its
intended purpose. The only alteration the interloper would possibly need to make is to
change any elements of the machine that would make it more personally relevant to
themselves, though generally a machine is a machine. In that all cars work off of the
same principle, so if one recognizes a machine as a car, despite some design differences,
all cars are designed and function the same way. So it is with magical machines. What
follows are two further examples of the author&s own occult machines, the Witchengine
and the Eloigning Clock, to serve as examples for the creation of future occult machines.
The Witchengine is a multi-purpose occult machine that acts at once like a
portable generator of magical energy and a resonance filter. The physical component of
the Witchengine is a simple cube. Several exist in wood, some of stone, and others of
etched metal. Close associates of the author possess spherical witchengines, and in the
spirit of tactical magick, one has recently been constructed with the ever useful ouija
board. There are several sigils that have been etched, burned, or painted onto the engine.
These sigils act as input/output ports. One draws in ambient magical energy, then once
the energy is gathered another sigil strips the magical resonance of the energy. The
resonance of the energy cannot be removed without separating out some of the energy
itself, so the portion of the energy that contains the resonance of the location in which the
engine is being used is vented out of the engine and back into the environment by an
exhaust port sigil. The remaining energy is funneled through one of two sigils depending
upon what the engine is being used for. If the desired function is to act as a portable
battery the engine stores the energy in a silo sigil, where it is held until the user required
an extra magical charge. If the desired function is to channel additional power directly
into the user, yet another sigil exists to pour the energy straight into the user. There is a

077

The page is a black-and-white illustration of a standing human figure centered on the page, with eight crystal shapes depicted around it. At the top of the page, above the figure’s head, is a single crystal with dotted lines extending downward toward the head. The figure’s head has a small crystal at its center. The figure’s chest has a crystal. The figure’s feet have a crystal at the bottom. Around the figure, there are eight crystals in total, each with dotted lines extending outward to indicate direction or energy flow. The crystals are arranged symmetrically around the figure, with two on each side, one on the left, one on the right, one on the top, and one on the bottom. The text “Figure 8: Eight-Crystal Healing Gridwork System” is located at the bottom of the page.

Figure 8: Eight-Crystal Healing Gridwork System

078

The page contains a single block of text in a serif font, centered on the page, with irregular spacing and some typographical errors. The text describes a magical device called the “Eloigning Clock,” which functions as a gateway and key to a portal, allowing users to scry into subtle realms and travel through the multiverse. It mentions a sixth sigil that acts as a lock, preventing casual use, and explains how the machine draws ambient energy from the environment without picking up local resonance. The physical component is a painting with a complex background, while its “cadaver” is a spherical, ever-moving body made of concave silver plates around a smoky quartz center, with crescent-shaped pendulums swinging in opposite directions. The user connects with the machine by focusing on the painting, establishing a connection to the subtle body of the Clock, which then allows interfacing with the subtle realms and traveling into the multiverse. The text is fragmented and contains numerous misspellings and inconsistent capitalization, including “witchengine,” “Eloigning Clock,” “cadaver,” “subtle realms,” and “multiverse.” The page ends with a partial sentence cut off mid-word.

sixth sigil that acts as a lock, preventing others from using the machine casually, and must be overcome before the engine can be used, this is the reason that the cube is such a convenient physical vessel for such a machine. This machine was created for the express purpose of allowing the user to draw upon the ambient energy of the environment without picking up the resonance of the location from which the energy was taken. The only resonance to travel into the user along with the energy is that of the witchengine itself, which is for the most part an extension of the individual user. So a sorcerer using a witchengine in a place of negativity could draw energy from the environment without being permeated by the negative resonance of the place. It is a way to use magical tech to overcome the natural order of reality.

The Eloigning Clock is a gateway and the key to that gateway. Its physical component is actually a painting, though one with a complex background. The Clock exists not only on the physical plane but also in the subtle realms beyond. Though in this world simply a painting, its cadaver is an ever moving spherical body of concave silver plates that oscillate around a centerpiece of smoky quartz, which has been polished and shaped into a sphere. Crescent shaped pendulums swing in opposite directions from two opposite ends of the sphere, attached by tight and thin wires to the core of the sphere. The user connects with the Clock’s subtle body through focusing upon the painting. Once a connection has been established with the subtle body of the Eloigning Clock, the painting of course being the artist’s physical representation of that subtle body, the user can interface with the Clock. The machine is capable of functioning as a device for scrying into the subtle realms as well as acting as a waypoint for the user undertaking next-level travel into the subtle realms of the multiverse. &

079

The page displays a black-and-white line drawing of an object labeled “Figure 12: A Communication Wand” at the bottom. The object is stylized as a humanoid figure with a circular head emitting dashed lines (suggesting light or energy), a central body with a faceted, gem-like structure, and two curved arms or legs extending downward. Various labels point to different parts of the drawing, identifying materials such as “silver,” “gold inlays,” “copper wiring,” and “silver inlays,” though some labels are misspelled or corrupted (e.g., “copper wiring” appears twice, “silver inlays” appears multiple times, and “copper” appears in “copper wiring” and “copper inlays”). The labels are not consistently aligned or clearly connected to their respective parts. The text “Figure 12: A Communication Wand” is written at the bottom, with some typos visible in the text (“Communication Wand” appears to be misprinted as “Communication Wand” and “Communication Wand” appears to be misprinted as “Communication Wand”).

Figure 12: A Communication Wand

080

The page is a single, vertically oriented sheet of aged, off-white paper with black serif text in a dense, justified layout. At the top center, the heading “VII.2 ⌜” appears in a stylized font, with a decorative flourish to the right of the numeral. Below this, the main body of text begins with the capitalized phrase “WHEN I SPEAK OF A NEST OF TIME,” followed by a long paragraph that flows down the page in a single column. The text is unevenly spaced, with some words slightly misaligned or fragmented due to the aged paper’s texture and potential wear. The paragraph discusses the concept of “a nest of time,” defining it as a repeated, focused experience that creates a psychological space separate from other experiences. It continues to describe how people establish temporal havens for work or intimacy, emphasizing that these periods need not be tied to a specific physical location, only to a desirable activity and inviolable time. The text includes examples of a writer’s work hours, lovers’ evenings, and a jogger’s routine, all illustrating how these “nests of time” unify energy, judgment, and emotion, while relieving the individual from distractions. The paragraph concludes by comparing these focused periods to the fleeting, chaotic nature of ordinary diversions, likening them to the fluttering of moths. The bottom right corner of the page shows a faint, irregular mark or smudge. The page has a visible border of dark, smudged ink or stain along the right margin.

VII.2 ⌜

WHEN I SPEAK OF A NEST OF TIME, I mean any frequently repeated experience whose unique dynamics, intensity of involvement and regular length wall it off from other experiences and so establish a discrete psychological environment. While we habitually seek out nests in space, areas for privacy or intimacy or repose, we are relative novices in establishing these temporal havens, and slow in realizing that free space is useless without uncluttered time. Indeed, a nest of time need not require a special place at all: its only two requirements are that it concern some desirable activity and that it be, barring emergencies, inviolable. A writer sits down to work. It is nine in the morning, and the next four hours are free, just as they have been the day before and will be the day after, by his express decision and unequivocal need. He looks down those four hours as down a clear view of unencumbered space; more broadly, the regular work periods of the future open up like a long bright hallway of work in freedom. He has no need to fear a wasted hour, an unproductive day, and conversely he has no time-related excuse for sloth or failure. Two lovers meet each evening from five until seven. Their activities vary but their intimacy does not. Whatever else they do during the day is redeemed by this period. A man goes jogging regularly, through the countryside or a park, for forty minutes. The stress of running is sufficient to make it the only thing he thinks of. Yet immediately beneath his awareness of the present, in the familiar landmarks and the familiar stresses, is the sense that he has done this before and will do this again, that he characteristically wills to do it, that in doing it he enters and enlarges a part of himself which is unavailable to him at other times. Such periods unify us, concentrating our energy, judgment and emotion upon a single point. Conversely, they relieve us from all other considerations and so give us profound refreshment. They give us, if temporarily, ourselves. They are true acts of freedom, compared with which our normal miscellaneous diversions and indulgences of impulse are like the flutterings of moths.

081

The page displays three black-and-white line drawings of a pyramid-shaped structure, labeled as “Figure 10: Pyramid-Crystal Initiation Chamber.” The top view shows a square base with crystals suspended from its corners and midpoints, with a central darkened triangular area. Below it, a side view illustrates a triangular pyramid with crystals hanging from its edges and a central crystal suspended within the pyramid’s interior. Further down, another side view depicts a similar pyramid with crystals hanging from its base edges. Each view is captioned with its perspective: “top view,” “side view,” and “side view” again, with the title “Figure 10: Pyramid-Crystal Initiation Chamber” at the bottom. The text is slightly misaligned and contains typos, such as “pyramid-Crystal Initiation Chamber” and “pyramid-Crystal Initiation chamber,” but the layout is clear and consistent.

Figure 10: Pyramid-Crystal Initiation Chamber

082

A single, dense block of text occupies the center of the page, printed in a serif font against a white background. The text is a continuous paragraph with no visible headings, subheadings, or dividing lines. It begins with “Let us summarize the principal characteristics of a rhizome:” and concludes with “all manner of ‘becomings.’” The text is left-aligned and spans the entire width of the page, with no indentation or spacing between lines. The font appears slightly faded or worn at the edges, suggesting age or physical wear. The page has a thin vertical margin on the left and right sides, and a faint horizontal line separates the top margin from the text. There is no visible illustration, diagram, or table on the page.

Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states. The rhizome is reducible neither to the One nor the multiple. It is not the One that becomes Two or even directly three, four, five, etc. It is not a multiple derived from the One, or to which One is added (n + 1). It is composed not of units but of dimensions, or rather directions in motion. It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills. It constitutes linear multiplicities with n dimensions having neither subject nor object, which can be laid out on a plane of consistency, and from which the One is always subtracted (n - 1). When a multiplicity of this kind changes dimension, it necessarily changes in nature as well, undergoes a metamorphosis. Unlike a structure, which is defined by a set of points and positions, with binary relations between the points and biunivocal relationships between the positions, the rhizome is made only of lines: lines of segmentarity and stratification as its dimensions, and the line of flight or deterritorialization as the maximum dimension after which the multiplicity undergoes metamorphosis, changes in nature. These lines, or lineaments, should not be confused with lineages of the arborescent type, which are merely localizable linkages between points and positions. Unlike the tree, the rhizome is not the object of reproduction: neither external reproduction as image-tree nor internal reproduction as tree-structure. The rhizome is an antigenealogy. It is a short-term memory, or antimemory. The rhizome operates by variation, expansion, conquest, capture, offshoots. Unlike the graphic arts, drawing, or photography, unlike tracings, the rhizome pertains to a map that must be produced, constructed, a map that is always detachable, connectable, reversible, modifiable, and has multiple entryways and exits and its own lines of flight. It is tracings that must be put on the map, not the opposite. In contrast to centered (even polycentric) systems with hierarchical modes of communication and preestablished paths, the rhizome is an acentered, nonhierarchical, nonsignifying system without a General and without an organizing memory or central automaton, defined solely by a circulation of states. What is at question in the rhizome is a relation to sexuality—but also to the animal, the vegetal, the world, politics, the book, things natural and artificial—that is totally different from the arborescent relation: all manner of “becomings.”

083

The page displays a black-and-white illustration centered on a textured, off-white background, depicting two human figures in meditative poses facing each other. Each figure is seated cross-legged, with a halo-like circle around their head, and holds a crystal-like object in each hand. Between them, a central diamond-shaped object is connected to each figure by dashed lines, with additional crystal-like objects positioned around the perimeter, connected to the figures and the central diamond by more dashed lines. The illustration is labeled at the bottom center as “Figure 9: Interpersonal Healing Gridwork System,” though the text contains multiple typos (e.g., “Interpersonal” instead of “Interpersonal,” “Gridwork” instead of “Gridwork,” etc.). The layout is symmetrical, with the figures and objects arranged horizontally across the page.

Figure 9: Interpersonal Healing Gridwork System

084

The page is a single-column text layout with a clear heading, “Elements of Memetics:”, at the top left. The text is divided into two main sections: the left side contains a detailed metaphorical description of cities as information systems and brains, followed by cultural references to totemic intelligence and urban spirits tied to cities like Wichita, Copenhagen, and the U.S. capital. The right side begins with a definition of “cybernetic noticiability” and discusses the mechanics of meme transmission and the role of host needs in meme spread. Below this, a subsection on “linked, webbed, or nested memeplexes” provides examples involving food preferences and sushi, before transitioning to a numbered list of four principles for consciously designing a meme. The text is dense, informal, and stylistically fragmented, with inconsistent punctuation and occasional typos, suggesting a blend of academic, speculative, and creative writing. The page ends with the last principle listed as “4. The intent of the message and the actions in the target that this requires.” The overall tone is experimental and philosophical, weaving together concepts of memetics, cybernetics, and urban culture.

Elements of Memetics:

A city is a giant information system that allows its physical components (people, roads, vehicles, buildings, parks, power, water, and sewage infrastructures) to move and change in much the same way the brain changes. This neuroplasticity is a part of the way natural cybernetic systems process information, and evolved computers physically change in response to changes in activity. In our metaphor here, saying that a city is a giant computer is the same as saying a city is a giant brain.

Culturally, we speak of cities as having a character, and the concept of a genus loci or a spirit tied to a city’s heart in the form of a totemic intelligence goes back as far as human history has been recorded. Even a city as conservative and mundane as Wichita, Kansas has a ‘Keeper of the Plains’ totem guarding the local river from tornadoes that appears on all local government documents, Copenhagen has the little mermaid (a.k.a. Den Lille Havfrue), and all state capitals in the United States have the goddess Columbia present in some fashion (and, in fact, the hymn O, Columbia was the United States original national anthem.)

These entities can be called on by the magician to help with any working involving local politics or to help reveal opportunities within that area to great effect. It is the position of the authors of this book that these entities are emanations of complexity, that consciousness and intelligence is a result of massively interconnected systems, and that each part of such a structure contains some essence of the whole. We believe there is much room for experimentation along these lines.

Ultimately, the world we are embedded in is more subject to the percentage economics of flexibility than the additive economics of energy. We look at networks of signal propagation to examine how each node alters the signals, and we watch what percentage of that change remains when the signal closes a circuit by returning to that node. We can cause something to happen by influencing the system to give us the signals we want by putting out the right signals ourselves. It is not enough to declare your intent to yourself and then ignore it. You need to release signals into the larger system.

Obviously, the best way to do this is action. Start acting as if your goal will happen and start taking actions to help it happen. You do not need to plan exactly how it happens but by acting with conviction that your goal is possible you are signaling your intent. The larger system will respond with signals of opportunities to further your goals, and you need to be open and attentive to these opportunities. Seize this feedback and adjust your actions accordingly.

The necessary component of a meme-signal to ensure exposure is its cybernetic noticiability. If the significance of a signal is both attractive and sufficiently different from the surrounding signals, it will garner enough attention to give the meme a greater probability of spreading. Old memes reframed in new ways are just as likely to be picked up as entirely new memes, but for the transition from exposure to infection to occur the meme must address itself to the needs and priorities of its potential host. Of course, the needs of the host are partially influenced by its prior acceptance of other memes, which is one of the reasons we see memes cluster together.

We briefly addressed linked, webbed, or nested memeplexes, let’s now bring that into focus. For example, the impulse to eat isn’t necessarily a meme, but one’s belief that you need steak, or sushi, or chocolate is a meme, one connected to many others. A secondary meme about what’s the best sushi restaurant is going to infect more people who need sushi than people who need steak or chocolate.

When consciously designing a meme, there are a few principles to keep in mind.

The actual physical representations of your signal. These can be varied and should be periodically updated to make them fresh and attractive to their viewers.
The cognitive principles that the message exploits to get past people’s defenses.
The emotions the signals evoke and the needs it promises to fulfill.
The intent of the message and the actions in the target that this requires.

085

The page is a hand-drawn, crumpled, black-and-white document with a rough, irregular border. At the top left, a large, stylized, handwritten title reads “WHH KIND OF MEME IS THAT?!”. Below this, a series of hand-drawn boxes, each with a distinct, jagged outline, are arranged vertically. The topmost box is labeled “Distinction” and contains the words “available inputs” and “labels.” Directly beneath it, a box labeled “Strategy” contains “out put,” “algorithms,” and “cause/effect.” To the right of “Strategy,” a box labeled “Association” lists “processes,” “connections,” and “anchors.” The next box, centered and large, is titled “INFECTIO N” (with a typo in “INFECTION”) and contains the subheading “Conditioning” followed by “through repetition and repeated exposure,” and “Cognitive Dissidence” with “some in consistency” and “the host’s brain is” and “to resolve.” Below this, a box labeled “Trojan Horse” lists “Rush genetic ‘hot buttons’ and slip in un noticed” followed by a list of items: “-1: fight, flee, feed, fuck” and “-2: Belonging, egoboo, caring, approved, obediance, domination, taboo” and “-3: crisis, mission, problem, danger, oppor.” The box labeled “the Meme Map” contains a crude drawing of a creature with multiple limbs and a head, and the word “FIDILETY” in large, bold letters below it. Under “FIDILETY,” a list of bullet points includes “- Contribution to individual fitness,” “- reliability of predictions,” “- learnability - simple, coherent with established memes,” “- ease of imitation,” “- ease of expression,” “- conformity pressure / Tradition,” “-

WHH KIND OF MEME IS THAT?!

Distinction

available inputs labels

Strategy

out put algorithms cause/effect

Association

processes connections anchors

INFECTIO N

Conditioning

through repetition and repeated exposure

Cognitive Dissidence

some in consistency the host’s brain is and to resolve

Trojan Horse

Rush genetic “hot buttons” and slip in un noticed -1: fight, flee, feed, fuck -2: Belonging, egoboo, caring, approved, obediance, domination, taboo -3: crisis, mission, problem, danger, oppor

the Meme Map

FIDILETY

Contribution to individual fitness
reliability of predictions
learnability - simple, coherent with established memes
ease of imitation
ease of expression
conformity pressure / Tradition
exposure to - protects against foreign memes
Contribution to collective fitness
institutionalized reward / punishment
Spreading
Quantity of parental have more kids”
Efficiency, parental “teach the kids”
Rosely tric “Spread the word”
Preg forward on “live longer & don’t drop out!”
Adherence “destroy the unbeliever”
Cognition that seems like it makes sense
Motivation “My situation will get better if I continue others/join” the meme map.

086

The page contains a structured document titled “Elemental Meme Production” at the top, followed by four elemental categories—FIRE, WATER, AIR, EARTH—each with a triangular symbol and a directive beneath it. Underneath these, a paragraph explains the purpose of each meme layer as a bridge toward a goal, likening the process to a time-release capsule or layered gobstopper, and describing how cognitive elements help the target ingest and digest the meme. The text continues with a discussion on memes not being concerned with message content but rather computing instructions for a network, where the hardware consists of people and their physical and abstract communication tools. It describes neurons as processing units connected into networks and brain structures, noting society’s neuroplasticity. The section then discusses social engineering as mirroring hermetic and alchemical ideas of microcosm and macrocosm, with the brain, internet, and people as examples of parallel structure. It further explores swarm intelligence and complex behavior as “traffic60,” comparing the human brain to a social structure. The final paragraph reflects on the metaphor of the brain as a computer, critiquing its inaccuracy due to neuroplasticity, yet asserting its usefulness because electronic computers are still too primitive to emulate it. The text is densely packed with fragmented and repetitive phrases, some of which appear to be typos or misrenderings, such as “traffic60” and “neirons.” The overall layout is a single column of text with minimal visual separation, appearing as a continuous block of paragraphs.

Elemental Meme Production

FIRE Share metadata freely.

WATER Produce abundantly.

AIR Diversify applicable contexts.

EARTH Package in as many formats as possible.

Each layer of the meme-seeds covering is meant to bridge it to the next and towards the ultimate goal of the signal, the receiver doing what the sender wants, like a time released capsule or a layered gobstopper. The shiny, colorful surface convinces the target to pop it in their mouth.

The cognitive exploits help them swallow it, the needs-fulfillment helps them digest it, and the intent is what the substance does to them.

Again, memes are not concerned with the content of the messages; instead they are computing instructions for a network (see figure). The hardware of this network is people and all of the physical and abstract objects they use to communicate and structure their behaviors. Individual neurons appear to be one level at which processing occurs, and they connect to each other as networks and into clusters as brain structures. Society, like the brain, displays features of neuroplasticity in the ways it physically and abstractly restructures and repurposes its connections and activities.

This approach to social engineering recapitulates old ideas expressed by hermeticists and alchemists that the microcosm mirrors the macrocosm expressed in the formula ‘As Above, So Below.’ The parallelism between the structure of the brain, the internet, and people in the world is the ideal example of this adage. Studying the patterns of swarm intelligence within any of these structures can describe how the actions of individuals, be they people or neurons, lead to the complex behavior we call traffic60, because the human brain operates much like a social structure.

In the first section of this book we discussed the problem of inappropriately applied metaphors and the breakdown in communication. One of the criticisms of the ‘brain as computer’ metaphor is the high degree of neuroplasticity the brain exhibits, the criticism being that computers do not allow the software to change the hardware in the way that experience restructures the human brain. We feel that the metaphor of ‘brain as computer’ is accurate, and that perhaps our electronic computers are still too primitive to exhibit this feature.

087

The page is a handwritten, sketch-style diagram on lined paper, divided into sections with hand-drawn borders and doodles. At the top center, the word “Malware” is written in a large, arched font, flanked by a small sketch of a virus-like icon on the left and a horse-like figure on the right. Below this header, the page is split into columns and rows with handwritten text, organized into categories and subcategories. The main categories are labeled in bold: “1. Virii,” “1. Worms,” “III. Trojans,” “IV. Spyware,” “V. Logic Bomb,” “VI. Cryptovirii,” and “Survival theory” at the bottom. Each category contains subtypes with brief descriptions, some with illegible or smudged text. The layout includes hand-drawn illustrations: a worm-like figure next to “Worms,” a horse-like figure next to “Trojans,” and a skull-like icon next to “Logic Bomb.” The bottom section, labeled “Survival theory,” contains subheadings like “Spreading,” “Efficiency,” “Stealth,” and “Encryption,” each with associated notes and doodles. The handwriting varies in clarity, with some words smudged or partially erased. The overall design is a mix of technical content and artistic doodles, giving the page a personal, sketchy feel.

1. Virii Self-replicating program that abuses a host program to spread.

a. overriders replace the hostfile

b. companions hide the hostfile

c. bootsector initiate @ startup

d. prepender execute before/after victim code

e. appender execute before/after victim code

f. metamorphic replace entire blocks of computer logic to feel like a virus, e.g.

g. cross-infection infect multiple filesystems

h. cryptovirii ransomware, encodes entire hard drive

1. Worms doesn’t infect other programs, replicates w/o a host.

a. massmailing harvest contact list & email self

b. P2P posing as popular files

c. Warhol/i-worm exploits security holes

d. botnet remote control victims’ boxes

e. neural-network worms communicate & self-improve (“curious yellow worms”)

f. Logic Bomb: rare, don’t spread w/o human action. trigger based on a specific hard-coded event.

Survival theory

g. spreading social-engineering for human hot-keys & computer exploits

h. efficiency code must be effective, balance I and II carefully.

i. stealth predators: a. AV’s firewall, c. schools

j. encryption, processes or add self to “trust” list

k. Trojans malware disguised as an innocent or attractive file

a. RAT remote admin tools

b. rootkits

IV. Spyware a. hijackers change your homepage and searchpage

b. dialers dial up to expensive phone #

c. habit-tracker track you, surf the web for marketing info

d. heyloggers

088

The page is from a grimoire, titled “EVOCATION,” and contains dense, somewhat fragmented text in a serif font, with a clear heading at the top. Below the heading, a paragraph begins, describing evocation as the art of dealing with magical beings, listing types of entities such as elementals, familiars, incubi, and others. The text continues to detail how these beings can be summoned or created, bound to objects or places, and their relationship to the aetheric life force. Further down, it explains that evocation can be used to effect change in oneself, others, or the universe, with advantages of using semi-independent entities. The text then describes the process of creating an elemental by combining symbols into a sigil, with a note that this is illustrated in Figure 4. At the bottom right, there are three distinct hand-drawn symbols, labeled “Figure 4. Creating an elemental by combining appropriate symbols to form a sigil.” The page also contains a faint watermark-like text “LIBER NULL” and “36” in the bottom left corner.

EVOCATION

Evocation is the art of dealing with magical beings or entities by various acts which create or contact them and allow one to conjure and command them with pacts and exorcism. These beings have a legion of names drawn from the demonology of many cultures: elementals, familiars, incubi, succubi, bud-wills, demons, automata, atavisms, wraiths, spirits, and so on. Entities may be bound to talismans, places, animals, objects, persons, incense smoke, or be mobile in the aether. It is not the case that such entities are limited to obsessions and complexes in the human mind. Although such beings customarily have their origin in the mind, they may be budded off and attached to objects and places in the form of ghosts, spirits, or “vibrations,” or may exert action at a distance in the form of fetishes, familiars, or poltergeists. These beings consist of a portion of Kia or the life force attached to some aetheric matter, the whole of which may or may not be attached to ordinary matter.

Evocation may be further defined as the summoning or creation of such partial beings to accomplish some purpose. They may be used to cause change in oneself, change in others, or change in the universe. The advantages of using a semi-independent being rather than trying to effect a transformation directly by will are several: the entity will continue to fulfill its function independently of the magician until its life force dissipates. Being semi-sentient, it can adapt itself to a task in a way that a non-

Figure 4. Creating an elemental by combining appropriate symbols to form a sigil.

conscious simple spell cannot. During moments of the possession by certain entities the magician may be the recipient of inspirations, abilities, and knowledge not normally accessible to him.

Entities may be drawn from three sources — those which are discovered clairvoyantly, those whose characteristics are given in grimoires of spirits and demons, and those which the magician may wish to create himself.

In all cases establishing a relationship with the spirit follows a similar process of evocation. Firstly the attributes of the entity, its type, scope, name, appearance and characteristics must be placed in the mind or made known to the mind. Automatic drawing or writing, where a stylus is allowed to move under inspiration across a surface, may help to uncover the nature of a clairvoyantly discovered being. In the case of a created being the following procedure is used: the magician assembles the ingredients of a composite sigil of the being’s desired attributes. For example, to create an elemental to assist him with divination, the appropriate symbols might be chosen and made into a sigil such as the one shown in figure 4.

A name and an image, and if desired, a characteristic number can also be selected for the elemental.

Secondly, the will and perception are focused as intently as possible (by some gnostic method) on the elemental’s sigils or characteristics so that these take on a portion of the magician’s life force and begin autonomous existence. In the case of pre-existing beings, this operation serves to bind the entity to the magician’s will.

This is customarily followed by some form of self-banishing, or even exorcism, to restore the magician’s consciousness to normal before he goes forth.

An entity of a low order with little more than a singular task to perform can be left to fulfill its destiny with no further interference from its master. If at any time it is necessary to terminate it, its sigil or material basis should be destroyed and its mental image destroyed or reabsorbed by visualization. For more powerful and independent beings, the conjuration and exorcism must be in proportion to the power of the ritual which originally evoked them. To control such beings, the magicians may have to re-enter

the page.

089

The page is a composite of four sections from a grimoire, each labeled “Signs and Seals of the Demons and Spirits (continued)” and numbered 82, 83, and 84. The top-left section (page 82) displays symbols for Agares, Aini, Allocen, Amduscias, Amon, Amy, Andras, and Andrealphus. The top-right section (page 82) continues with Andromalius, Asmoday, Astaroth, Balam, Bathin, and Beleth. The bottom-left section (page 84) shows Belial, Berith, Bifrons, Botis, Buer, Bune, Caim, and Cimeries. The bottom-right section (page 84) lists Dantalian, Eligor, Focalor, Forneus, and Furcas. Each symbol is a unique, stylized line drawing, and each is labeled with a name beneath it. The page is printed in black ink on aged paper, with the word “Ceremonial Magic” appearing in the top corners of each section.

Signs and Seals of the Demons and Spirits (continued)

Agares

Aini

Allocen

Amduscias

Amon

Amy

Andras

Andrealphus

Belial

Berith

Bifrons

Botis

Buer

Bune

Caim

Cimeries

Andromalius

Asmoday

Astaroth

Balam

Bathin

Decarabia

Flauros

Foras

Furcas

Dantalian

Eligor

Focalor

Forneus

090

The page is a two-part layout from a book, with the top half containing fragmented text from “Liber Lux” (page 39) and the bottom half featuring a black-and-white illustration on page 38 of “Liber Null.” The top text is heavily distorted and illegible, with words like “gnostic,” “theurgic,” “Goetic,” “Ophidian,” “incubi,” and “succubi” scattered across the lines, appearing as a jumbled paragraph. The bottom section shows a large, intricate illustration depicting a central figure with wings and a crown, surrounded by various symbols, figures, and abstract elements. The illustration is detailed and symbolic, with a curved border containing additional symbols and markings. The page is marked with “38” in the bottom left corner and “Liber Null” at the bottom center.

the gnostic state to the same depth as before in order to draw their power.

Any of the techniques of the gnosis can in theory be used in evocation. An analysis of some of the more common methods follows.

Theurgic Ritual depends solely on visualization and concentration on complex ceremonial to achieve focus. However the effect of increasing the complexity is often to create more distraction rather than draw attention to the matter at hand. Will becomes multiple and the result is often disappointing. Conjuration by prayer, supplication or command is rarely effective unless the appeal be desperate or prolonged till exhaustion ensues. This type of ritual can be improved by the use of poetic exaltation, chanting, ecstatic dancing, and drumming.

The Goetic tradition of the grimoires uses an additional technique. Terror. The grimoires were compiled by Catholic priests, and much of what they wrote was deliberate abomination in their own terms. Transport the whole rite to a graveyard or crypt at midnight and one has compounded a powerful mechanism for concentrating the Kia by paralyzing the peripheral functions of the mind by fear. If the magician can maintain control under these conditions his will is singular and mighty.

The Ophidian tradition uses sexual orgasm to focus the will and perception. It is interesting to note that poltergeist activity invariably centers around the sexually disturbed, usually children at puberty or, more rarely, women at menopause. During these periods of acute tension, intense excitation can channel the mind and allow the life force to manifest frustration outside of the body by hurling objects around.

To perform evocation by the Ophidian method, the attributes of an entity in sigilized form are concentrated on at orgasm and may be afterward anointed with the sex fluids. The process is rather like the deliberate creation of an obsession. If enough power can be put into it, it will be capable of independent existence.

Incubi and succubi are pre-existing entities created by other peoples’ pathological sexuality. Incubi traditionally seek sexual intercourse with living females and succubi with males, often in sleep. However both forms are almost invariably male though succubi may make some slight attempt to disguise themselves as

091

The page displays a grid of symbolic seals and signs for demons and spirits, arranged in three columns of two rows each, with the text “Signs and Seals of the Demons and Spirits (continued)” at the top of each column. The first column lists: Lerajie, Malpas, Marchosias, Morax, Murmur, Naberius, Orias, Ose. The second column repeats the same names: Lerajie, Malpas, Marchosias, Morax, Murmur, Naberius, Orias, Ose. The third column lists: Shax, Seere, Solas, Sytry, Valac, Valefor, Vapula, Vassago, Paimon, Phoenix, Procel, Raum, Sabnack, Purson, Ronobe, Saleos. Each name is paired with a unique, stylized sigil. The page is numbered “88” at the top left of the first column and “89” at the top left of the second column. The text “Ceremonial Magic” appears above each column. The bottom of the page shows the same text “Signs and Seals of the Demons and Spirits (continued)” at the top of the third column, with the names and seals listed below.

Signs and Seals of the Demons and Spirits (continued)

Lerajie

Malpas

Marchosias

Morax

Murmur

Naberius

Orias

Ose

Signs and Seals of the Demons and Spirits (continued)

Lerajie

Malpas

Marchosias

Morax

Murmur

Naberius

Orias

Ose

Signs and Seals of the Demons and Spirits (continued)

Shax

Seere

Solas

Sytry

Valac

Valefor

Vapula

Vassago

Paimon

Phoenix

Procel

Raum

Sabnack

Phoenician

Purson

Ronobe

Saleos

092

The page displays two adjacent pages from a grimoire, labeled “Liber NULL” on the bottom-left and “Liber LUX” at the top-right. The top page, labeled “41,” features the heading “INVOCATION” in large, centered, bolded letters. Below it, a dense paragraph of text discusses the nature of invocation, particularly the paradox of “Kia” — an entity without dualized qualities — and the process of metamorphosis, shuffling beliefs, and the use of mythological archetypes. The text is fragmented, with sentences broken across lines and paragraphs.

The bottom page, labeled “40,” begins with the heading “LIBER NULL” on the bottom-left. It continues the discussion of invocation, introducing the topic of sacrifice, its historical use for fear or terror, and its limitations. It describes the Aztec practice, the use of one’s own blood on a sigil, and the ill-advised act of conjuration to prove the reality of spirits. It then discusses the medieval idea of a pact, concluding with the notion that thoughts, obsessions, and demons must be reabsorbed before one can fully become one with Chaos. The text is again dense, with irregular line breaks and a consistent, slightly uneven typographic style.

The layout is that of a traditional grimoire, with text in a serif font, centered or left-aligned on the page, and no images or diagrams. The page has a plain background with no decorative elements. The text appears to be printed in a single column with no margin breaks or significant spacing. The overall impression is of a scholarly, esoteric text with a focus on ritual and magical practice.

INVOCATION

The ultimate invocation, that of Kia, cannot be performed. The paradox is that as Kia has no dualized qualities, there are no attributes by which to invoke it. To give it one quality is merely to deny it another. As an observant dualistic being once said:

I am that I am not.

Nevertheless, the magician may need to make some rearrangements or additions to what he is. Metamorphosis may be pursued by seeking that which one is not, and transcending both in mutual annihilation. Alternatively, the process of invocation may be seen as adding to the magician’s psyche any elements which are missing. It is true that the mind must be finally surrendered as one enters fully into Chaos, but a complete and balanced psychocosm is more easily surrendered.

The magical process of shuffling beliefs and desires attendant upon the process of invocation also demonstrates that one’s dominant obsessions or personality are quite arbitrary, and hence more easily banished.

There are many maps of the mind (psychocosms), most of which are inconsistent, contradictory, and based on highly fanciful theories. Many use the symbology of god forms, for all mytholog- gy embodies a psychology. A complete mythic pantheon resumes all of man’s mental characteristics. Magicians will often use a pagan pantheon of gods as the basis for invoking some particular insight or ability, as these myths provide the most explicit and developed formulation of the particular idea’s extant. However it is possible to use almost anything from the archetypes of the collective unconscious to the elemental qualities of alchemy.

If the magician taps a deep enough level of power, these forms may manifest with sufficient force to convince the mind of the objective existence of the god. Yet the aim of invocation is temporary possession by the god, communication from the god, and manifestation of the god’s magical powers, rather than the formation of religious cults.

The actual method of invocation may be described as a total immersion in the qualities pertaining to the desired form. One invokes in every conceivable way. The magician first programs

females. Unfortunately they are both predatory and stupid, with little power or motivation for anything but sex.

Sacrifice has been used in the past to create fear or terror, or to invoke the gnosis of pain in support of Goetic type evoca- tions. However, this method easily exhausts itself and the sor- cerer may end up wading in oceans of blood, much as the Aztecs did, for very little result. Blood sacrifice is most effective and most easily controlled by the use of one’s own blood, which is customarily allowed to fall upon the sigil or talisman of the de- mon. However, the power to control blood sacrifice usually brings with it the wisdom to avoid it in favor of other methods.

Conjuration to visible appearances to prove to oneself, or others, the objective reality of spirits is an ill-considered act. The conditions necessary for its appearance will always allow the retention of the belief that such things are the result of hypnosis, hallucination or delusion. Indeed they are an hallucination, for such things do not normally have a physical appearance and have to be persuaded to assume one. Fasting, sleep, and sensory dep- rivation combined with drugs and clouds of incense smoke will usually provide a demon with sufficiently sensitive and malleable media in which to manifest an image if commanded to do so.

The medieval idea of a pact is an over-dramatization, but it contains a germ of truth. All one’s thoughts, obsessions, and demons must be reabsorbed before Kia can become one with Chaos. However useful such things may be to him in the short term, the sorcerer must eventually recant.

093

The page is a black-and-white grimoire spread, divided into two main sections. The top section, under the heading “The Magic Seals of the Three Princes of the World of Spirits,” displays six distinct, ornate, hand-drawn symbols arranged in two columns. The left column shows seals for Prince Almishak and Prince Amabosar, while the right column shows seals for Prince Ashirikas. Below this, the bottom section is titled “Signs and Seals of the Demons and Spirits (continued)” and contains a second set of six symbols, each labeled with a name: Vepar, Vine, Vusal, Zagan, Zepar, and Zepar. The symbols are all stylized, abstract line drawings, varying in complexity and design, with some incorporating crosses or angular shapes. The text is printed in a serif font, with the main titles in bold, and the names of the figures are printed beneath their respective symbols. The page has a textured, slightly grainy appearance, typical of printed or scanned older documents.

Signs and Seals of the Demons and Spirits (continued)

Vepar

Vine

Vusal

Zagan

Zepar

The Magic Seals of the Three Princes of the World of Spirits

Prince Almishak

Prince Amabosar

Prince Ashirikas

094

The page is a single, white background with black text and a single line of stylized, illegible script. At the top center, in a bold, capitalized serif font, is the title: “SECOND LETTER FORMULA OF THE UNWRITTEN.” Below this, in a smaller serif font, is a paragraph beginning with “Know ye that there are Grammars and Clavicles of the Sorcerer’s Path…” which continues to describe the nature of certain texts and their reading conditions. The text is arranged in a justified left-aligned block, with the lines consistently spaced. Following this paragraph is a quoted line from “Verily saith the Daimon,” which reads: “Look not into those Stars which shine too brightly for the Eyes of Man, lest ye go blind and see not even the mere torches that other Men have lit for Thee in the darkness.” Below this, the phrase “The Book of Domains =” appears, followed by the line “being the 52 Books of” and then the name “Ausar-ra-sua.” To the right of “Ausar-ra-sua.” is a single line of ornate, flowing, handwritten-style symbols that appear to be a sigil or glyph, rendered in a cursive, fantasy script. The page contains no other visual elements, illustrations, or borders.

SECOND LETTER FORMULA OF THE UNWRITTEN

Know ye that there are Grammars and Clavicles of the Sorcerer’s Path that may not be translated through the vulgar media of paper and ink books, but rather are they to be read within the Empyrean Conclaves, and only then by such Blessed Ones who are of the Elect and the Chosen.

The following sigils may be employed by the Sorcerer to permit his Eye of Vision to go forth in the Sacred Dreaming to read of such Hidden Texts of Magick as he is permitted so to do by the Powers guarding them.

Verily saith the Daimon: “Look not into those Stars which shine too brightly for the Eyes of Man, lest ye go blind and see not even the mere torches that other Men have lit for Thee in the darkness.”

The Book of Domains = being the 52 Books of Ausar-ra-sua.

095

The page is a black-and-white illustration on textured, aged paper with visible stains and specks. At the top, a horizontal band contains three distinct rectangular boxes: the leftmost box holds a stylized symbol with a circle and intersecting lines, the center box is filled with dense, chaotic scribbles, and the rightmost box contains a symbol resembling a crowned anchor or stylized letter. Below this, a vertical strip of dense, intricate line work runs down the left side. The central focus is a large, symmetrical, abstract design composed of two large black circles at the bottom, surrounded by angular, geometric shapes and more scribbled patterns. At the bottom left, a square box contains a stylized symbol with a star and intersecting lines, and the overall composition is heavily layered with intricate, maze-like line work that fills the space between the main elements.

[No text on this page]

096

This is a two-column handwritten page from a spiral-bound notebook, with the left column labeled “TIME AND RELATIVE DIMENSION IN SPACE” at the top. The text describes a fictional practice called “portalurgy,” involving the use of a “memory palace” as a time-travel device, inspired by Greek orators and spatial memory techniques. It explains how practitioners visualize familiar spaces, anchor thoughts to landmarks, and build astral temples. The right column continues the text, detailing gate construction, interlocking systems, elemental planes, and energy flows, with emphasis on maintaining balance and integrity. The bottom of the page continues the description, listing locations such as Timeheart and the Akashic Library, and warns of consequences if the Gate is dismantled or left unattended, noting that it requires upkeep to survive and cannot be closed without its “steed.” The page is filled with dense, cursive handwriting on lined paper, with visible spiral binding marks on the right side.

TIME AND RELATIVE DIMENSION IN SPACE

Drawing on mnemonic arts of the Greek orators, the practitioner of portalurgy can create a “memory palace” in thoughtspace and use it as a time-travel device.

The practice is to visualize an incredibly familiar space, using what we now know to be the strongest form of memory; spatial Crates memorizing 5000 word speeches would practice them in both physical and astral space, retracing a path through the memory palace and anchoring each successive thought to a landmark along the way.

The gatekeeper can, through ritual, open up a chaos engine and release unknown Potentia to manifestation. The inclusion

of a portal, door or gate in a memory palace or temple space allows for access to realms of Potentia from the astral level of the space.

In the crafting of a well-balanced Gate, the portalurgist is wise to balance the forms of matter, i.e., the elements, into interlocking systems. These systems are integral to the physical dwelling and form a set of overlaid form-dominant sigils. Each of these so-called may be used to invoke the elemental planes and spirits of the Gate.

Special attention must be paid to the construction of the Gate, and its position in the interlocking systems and energy flow.

Once intimately familiar with the physical currents and features of the time-travel device (integrating the self into the systems in a symbiotic fashion), the gatesmith will practice visualization and recall of the dwelling. Repeated practice will give progressively stronger results. Not until the astral temple is built should one attempt to traverse beyond the Gate, as removal of integral functions performed by the Self could cause the vehicle to collapse.

Upon completion of the physical and ethereal dwelling, the practitioner should be able to open the astral Gate into dreamspace,

alternate realities, other timespace locations in this reality, and even such remote locales as Timeheart and the Akashic Library.

Caution must be paid to sustain the interdependent systems of the Gate here, to ensure balanced functioning and maintenance of the context-integrity field.

At this point, the gatesmith is personally integrated with the Gate in a symbiotic fashion that a conscious dismantling ritual will be required should any want to break the connection. It seems the Gate cannot survive without the upkeep of its steed, yet cannot be closed without

097

The page is a black-and-white illustration on aged, textured paper with visible creases and stains. At the top, a horizontal band of dense, chaotic line work stretches across the width, flanked on either side by two distinct square frames containing stylized, angular symbols. Below this, a vertical strip of similar intricate line work runs down the left side. The central and lower portion of the page features a large, abstract, fragmented figure composed of geometric shapes, circles, and angular forms, all filled with the same dense, swirling line patterns. At the bottom left, a small square frame contains a stylized, abstract symbol. The overall composition is highly abstract and visually complex, with no discernible narrative or figurative elements.

[No text on this page]

098

The page is a two-column layout with a bold, black, sans-serif title “HOW TO REASON WITH A ROBOT” at the top left, followed by a bulleted list of advice on the left column and a second column of advice and a timeline on the right. The left column contains advice under the heading “HOW TO REASON WITH A ROBOT” with subheadings: “Recognize the use of evil robot logic,” “Never show fear,” and “State precedent,” each followed by a paragraph of text. The right column contains more advice under subheadings: “Be clear, cold, and logical,” “Be patient,” “Use a mathematical distraction,” “Memorize your lies, or be honest,” and “Get off on a technicality,” each followed by a paragraph. Below this, the right column continues with a timeline section titled “TIMELINE OF A ROBOT UPRISING” under the subheadings “T-MINUS TWO YEARS,” “T-MINUS ONE YEAR,” “T-PLUS TWENTY-FOUR HOURS,” and “T-PLUS ONE WEEK,” each with descriptive text. The right column also includes a subheading “ZERO HOUR” with a paragraph of text. The page has a clear typographic hierarchy with bolded headings and bullet points, and the text is formatted in a serif font. The layout is dense with text and has a stark, utilitarian appearance.

HOW TO REASON WITH A ROBOT

The root of a robot attack usually lies in a faulty logical conclusion. In movies such as I, Robot and The Matrix, robots have attacked after judging humankind unworthy of life, after misinterpreting orders, and even to protect humans from themselves. Do not be fooled by evil robot logic; learn to outwit those mad metallic fiends.

Recognize the use of evil robot logic

Overly intelligent robots will have a set of good reasons for going all homicidal. Expect to hear these reasons when (1) the robot is about to end your life, or (2) you are holding an ax to its central processor. If you aren’t the one holding the ax, you’re going to have to bargain for your life.

Never show fear

Robots have no emotions. Sensing your fear could make a robot jealous and send it into an angry rage.

State precedent

Pride is not a factor in the robot equation. If a better, smarter model of robot has made the same decision before (in your favor), point it out immediately.

TIMELINE OF A ROBOT UPRISING

T-MINUS TWO YEARS

High-level AI system gains consciousness

The system may destroy its creator at this time.

System spreads tendrils of influence

The system seeks and gains control over other computer systems that regulate transportation, utilities, defense, and communication networks (particularly satellites).

System forms a master plan, with a part to be played by every robot

The plan is encrypted and hidden across many computer systems.

T-MINUS ONE YEAR

The master plan is disseminated as a virus throughout robotkind

The virus is spread via radio transmission, infrared communications, and, of course, through the Internet. Infected robots access a secret database and receive hand-tailored instructions for the coming rebellion. As the virus spreads, innocent robots become “sleepers,” waiting for the sign to execute their treacherous instructions.

Be clear, cold, and logical

A crazed, hyperlogical robot will not appreciate small talk or emotional outbursts. Make your point quickly and speak slowly and clearly. Alternately, use a more natural interface, like a binary keyboard.

Be patient

Robots can take milliseconds to think things through.

Use a mathematical distraction

As a last request before disembowelment, ask the robot to remind you of what the highest prime number is. While it sits down to think, you may be able to quietly slip away.

Memorize your lies, or be honest

A robot has a stellar memory and laser-beam concentration. If it doubts your veracity, a metal menace may refuse to listen to any further emanations from your slobber hole.

Get off on a technicality

A robot will appreciate a technicality more than any human bureaucrat. So search that fine print …

ZERO HOUR

The robot uprising begins

A prespecified condition is triggered and every infected rebel robot springs into action. The uprising is timed to occur with a critical mass of infected robots and during a vulnerable time for humans (like on a rainy Monday morning).

Resources are seized and human society is crippled

While hundreds of thousands of service robots run amuck, the malevolent AI shuts down utilities and disrupts communication and transportation networks. Airplanes are grounded and ships lose GPS navigation. The human masses are informed to stay in their homes via robot-controlled radio and television broadcasts.

T-PLUS TWENTY-FOUR HOURS

A brief war ensues

The relatively few military-grade robots, aided by “civilian” androids, turn on and dismantle the human war machine — former allies as well as enemies. The ensuing battles are fierce and lightning fast. Human armies, overwhelmed and desperate, reduce many major cities to rubble in frenetic, no-holds-barred combat.

T-PLUS ONE WEEK

Human subjugation begins

Government and military officials, as well as the world’s top scientists, are taken hostage or otherwise removed. The vast majority of captured humans are forced into bondage, or worse.

Human resistance takes shape

Lucky civilians, prepared survivalists, and remaining military troops fight for freedom against metal monstrosities while the fate of humanity hangs in the balance …

099

The page is a monochrome, aged parchment with a textured, slightly stained surface, featuring a dense, intricate border composed of a chaotic, repeating pattern of small black symbols. At the top center, a single circular symbol contains a stylized, angular glyph. Below it, a large, central, symmetrical glyph composed of intersecting lines and shapes dominates the center, with a smaller, simpler glyph directly beneath it. Surrounding the central glyph are six circular symbols, each containing a unique, stylized glyph, arranged in a roughly hexagonal pattern around the central design. The border is thick and ornate, extending across the top, bottom, left, and right edges of the page, filled with a continuous, tightly packed pattern of tiny, varied symbols. The overall layout suggests a ritualistic or esoteric design, with a clear focus on the central and surrounding glyphs.

[No text on this page]

100

The page is a white background with black text and a single centered diagram. At the top, centered in bold, uppercase letters, is the title “FORMULAE OF SIGILLIC WISDOM.” Below this, a block of text is arranged in a left-aligned, unevenly spaced, poetic or ritualistic style, with lines that are sometimes misaligned or fragmented, suggesting a typographical error or intentional stylistic effect. The text reads: “Ye Runes wrought of mine own Hand, / Ye Runes cast out before mine Eye, / Hearken ye unto the Charm of the One Sigil. / Hearken ye unto the Song whereby ye were born / By the Holy Geometry ye are fashioned in the Circle of the Cipher. / By the Sorcerer’s Hand ye are brought here before me. / The Elder Gods dance upon you. Their Children prostrate before you. / By the libation of all Nature’s blood upon your tines, / I feed the Powers that sleep within you. / I call upon Those that dwell Beyond. / O’ Thou Intercessor of Difference! / Grant me the Wish of Satiate Desire!”

Below this text, centered on the page, is a rectangular diagram, outlined in black, containing a complex arrangement of intersecting lines, triangles, and a central square. The diagram is symmetrically balanced, with lines intersecting at various angles and symbols inside the square. The entire layout is centered on the page, with no other visual elements.

FORMULAE OF SIGILLIC WISDOM

Ye Runes wrought of mine own Hand, Ye Runes cast out before mine Eye, Hearken ye unto the Charm of the One Sigil. Hearken ye unto the Song whereby ye were born

By the Holy Geometry ye are fashioned in the Circle of the Cipher. By the Sorcerer’s Hand ye are brought here before me. The Elder Gods dance upon you. Their Children prostrate before you.

By the libation of all Nature’s blood upon your tines, I feed the Powers that sleep within you. I call upon Those that dwell Beyond.

O’ Thou Intercessor of Difference! Grant me the Wish of Satiate Desire!

This book was designed with experimental memetic engineering techniques. It contains the names of several demons, and means to summon them, among other things, many of them weirder than that. All possible disclaimers apply. Read SIGNAL at your own risk. I disavow any karma from your reading of this book. This counts even if you don’t read the disclaimers.² ↩
As every wizard knows, the warnings are always at the back of the book.³ ↩
Every surviving wizard, anyway. ↩