Liber Sigillum OP-M6 In Class A For Application in Circles 0-5 DCCCLXXXVIII 7 . 1. ' » * w SOFTCOVER 2“' EDITION ■Ä^ У W I N D E X Foreword to the 2'"^ FLdition........................................11 F’oreword to the Fxiition.........................................12 Initiation; 'I’he Theatre...................................................22 Introduction: An Age of Reason................................27 Prefator}^ Alatters.............................................................35 Chapter 1 - The 156/663 Current..............................39 (Chapter 2 — I'he DKAIU...............................................44 Chapter 3 — The Organic Temple...............................52 Chapter 4 — Aleditation & Dream...............................58 Chapter 5 - On Magick..............................................84 Chapter 6 — On Sigils & Gnosis...............................130 Chapter 7 — Magickal (k)nstructs...............................149 Chapter 8 - The Mountain..........................................156 Chapter 9 - A Rare Council.......................................162 An Interview with Joel Biroco....................................167 Index of Seals & Symbols...........................................177 'I'he Dweller on the Threshold..................................198 Rec()mmended Materials.............................................205 The F'ool Takes a Bow.................................................210 Li-ber I. (Latin.) A book of records. Sig-ill-um I. (Latin. Rom. 6 Old Enj*.) A seal, sign or symbol. Sym bol I. Something that represents something else by association, resemblance, or convention, especially a material object used to represent something invisible. Oc-cult 1. Beyond the range of ordinary understanding; mysterious. 2. Not apparent on mere inspection but discoverable by experimentation. 3. Something which is obscured or hidden from immediate view; invisible. Mys-ter-y Any affair, thing, or person that presents features or qualities so obscure as to arouse curiosity or speculation. Any truth that is unknowable except by divine, scientific or otherwise revelation. г T h e А. А. О. WlHi WHICH THIS WORK IS AUGNED WISHES ТОТНАЖТНЕ READERS ЮК THEIR INTEREST IN THE CONTTNTÆD RESEARCH & PR/\CTICE REGARDING’ ^ THE SUBJECTS Ю иЮ HEREIN Fmter E.S. is one of the original founders of-the DIvAflJ, ha\ring also held a soUd footing within the occult communit}' at large, albeit under various names, for several years. I ’he formation called the A.A.O., also called ‘die Foundation’ and ‘the Temple of the Book & Ivantern’, presents a non-hierarchical approach to an otherwise classical occult treatise, with the primar}- focus being attributed to a steady and gradual charting, distillation and comprehension of the techniques w-hich make up the tradition in whole. This book comprises essays and thoughts wiiich have come to seiwe as the preliminaiy cornerstones for what would become the progression of subjects within Circles 0-11 of the foundation. This w'ork is founded upon the accumulation of magickal results. * * * * * * * * * * * * * * * * * * * * * * TEXTBOOK FOR “THE FOUNDATION’’ IVimary Typeset in Garamond f ^ For all those who find themselves here Within cryptic pa^es of finite space Chasing subtle dreams Without assurance Follow trails between lines Remember what you are And see it before yordre gone "Il is amazing that \vc perceive anything at aU. \Xe like to ihink (hat our eyes are Шее \4dco cameras, and that \vc look .ii'ouikI and record reality pretty much the way it is, but stop ami (hink; the images on out retina are distorted, tiny, and upside down. Most of the retina is nearly colorblind, and has sevei'ely limited powers of discrimination, the eye is in nearly umslant motion, and yet we see a world that is relatively 4(al)le, detailed, and consistent. How do we do that? We do it because what we see is as much a construction of our minds as ii is a physiological response to light, shadow and color. W'e are gap-filling all the time.” Stephen Beyer, Ph.D. “The mind is somehow a co-creator in the process of lealily through acts of language, and language is very nivsierious - it is ti-ue magic. People run all over the place |i »oking for paranormal abilities, but notice that when I speak, il ПП' internal dictionary matches your internal dictionar\’, that ,ii\' ihoiights cross through the air as an acoustical pressure \\ii\r and are re-constructed inside your cerebral cortex as \oiir ihought, your understanding of my words — telepathy (Aisis, il’s just that the carrier wave is small mouth noises. All ..o callcil ]-)rimitive people know that the world is made of l.iiip.iiap.e, that you sing it into existence, that what you say it IS w bai it is, that it is maintained in existence by an act of i.iiional apprehension. Mind is necessar\- for the world to iiiulci'j'o (he formality of existing.” Terence Sickenna “ \ll I hat we see or seem is but a dream within a dream.” Rdgar Allen Poe f' hat is a body seen but a si^n. and what is an experience beheld but a symbol of that which is kept and confined to memory? Experience soon submits to a non-existent past, though the memory persists. What is anything viewed, touched, tasted, smelled or felt but a construct of the indeterminable mirror held beneath any account of sparse observation, chaotic variable and reality as it comes? All is but symbol. We might then attempt to find the archetypal reader of such glyphs. What is it? It is that place, the eye of the storm, which persists beyond the constant detail and drama of the direct and immediate external opera. Where the theatre ends, it begins. hrom whencey ou came, you were a worm Your mind was falsely thrown Into a place it thought it knew Thef ace of the unknown Andy etp erchance you t^ero-out And cam new eyes to see The emr-present churning void The gaping, screaming sea Stephen Branch