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<v Speaker 1>You see somethings going to happen.

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<v Speaker 2>What's going to happen?

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<v Speaker 3>A Welcome to the Occult Rejects. Today's episode, we got

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<v Speaker 3>a very very special guest. I'm very excited to have

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<v Speaker 3>this man on. But before we get to uh Toby Chapel,

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<v Speaker 3>we will introduce the other rejects on tonight. Tonight, I

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<v Speaker 3>got with me Lisa the cult reject mad scientist. What

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<v Speaker 3>is up, Lisa? How are you?

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<v Speaker 4>I'm good, I'm good, wesome.

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<v Speaker 3>Thank you very much for showing up tonight, and uh

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<v Speaker 3>you is there anything you want to plug all rnything?

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<v Speaker 4>Sure, I'm a guilt research institute dot orren. Go check

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<v Speaker 4>out some of the stuff that we've got going on there,

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<v Speaker 4>people writing some of their contributions there if you want

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<v Speaker 4>to absorb media in that form.

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<v Speaker 3>Thank you awesome, Thank you very much. And we also

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<v Speaker 3>got Gin the Ninja jin What is going on?

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<v Speaker 5>Sir?

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<v Speaker 3>Thank you very much, and let everybody know where they

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<v Speaker 3>can find your work.

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<v Speaker 6>Sure, thanks boss, and thanks Lisa, Ethan and Robbie and Toby.

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<v Speaker 6>I'm really excited to speak with you. I don't know

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<v Speaker 6>how much I'll have to contribute, but I'll try. I'm

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<v Speaker 6>Nick knows I was very chattery before we started recording.

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<v Speaker 6>So you can find my show A Threshold Saints on

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<v Speaker 6>Spotify and Apple and anywhere you get your podcasts. Can

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<v Speaker 6>follow me on Twitter or x at Wukong Reborn to

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<v Speaker 6>be a Ukong Reborn or at the show account Threshold Saints.

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<v Speaker 3>Awesome, Thank you very much.

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<v Speaker 5>D D's episode just dropped, oh five minutes ago.

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<v Speaker 3>So it's awesome. And Robbie Marx, what is going on, sir, storyteller?

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<v Speaker 3>Let everybody know where they can find you. Oh you

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<v Speaker 3>muted again? My man?

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<v Speaker 7>Yeah, how's everybody doing? Thanks for having me on. This

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<v Speaker 7>is gonna be a fun one. If anybody wants to

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<v Speaker 7>check out my other stuff, you can check out my

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<v Speaker 7>link tree at our m A r X and that'll

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<v Speaker 7>pull up everything.

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<v Speaker 3>Awesome. Thank you, Thank you, sir. Last but not least

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<v Speaker 3>Ethan Indigo.

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<v Speaker 1>Always.

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<v Speaker 2>Thanks Nick for putting this together. Everyone.

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<v Speaker 8>It's honored to be here with you all. And I'm

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<v Speaker 8>excited to hear what Toby all say talk about. And

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<v Speaker 8>I have a couple of books on Amazon and website

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<v Speaker 8>I believe is down below, and I'm going to be

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<v Speaker 8>dropping an article as soon as I can get my

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<v Speaker 8>junk together on Occult Research Institute and the next day

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<v Speaker 8>or two.

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<v Speaker 3>I keep pulling you on the show too, so I'm

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<v Speaker 3>sure that takes time away. Thank you.

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<v Speaker 8>No, my, that's not my excuse for not writing. Certainly

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<v Speaker 8>there I have better, more more lag than that.

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<v Speaker 3>Well, thank you all for joining us. And finally, finally

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<v Speaker 3>to the guest himself, Toby, please introduce yourself. Let everybody

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<v Speaker 3>know like where they can find your books, and maybe

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<v Speaker 3>give a little bit of background about who you are.

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<v Speaker 1>Sure. So, my name is Toby Chappel. I am an

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<v Speaker 1>author here to talk about my second book tonight, and

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<v Speaker 1>maybe the first one too. We'll see when any questions

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<v Speaker 1>come up around that. First one was Infernal Geometry in

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<v Speaker 1>the Left Hand Path, which is now six years old.

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<v Speaker 1>I believe it or not, I certainly can't believe it.

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<v Speaker 1>And then coming out I'm not sure when this will air,

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<v Speaker 1>but coming out soon April eighth, is The Languages of Magic.

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<v Speaker 1>And my background for this is I've long had an

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<v Speaker 1>enthusiasm for things that are weird, whether it's things that

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<v Speaker 1>are not of this earth. You know, I've been an

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<v Speaker 1>amateur astronomer for most of my life, but also reading

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<v Speaker 1>things often the wild and strange corners of what's possible.

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<v Speaker 1>I've long been fascinated by language, how we use language

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<v Speaker 1>to community, just to communicate with each other, which is

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<v Speaker 1>obviously a very important part of it, but also, as

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<v Speaker 1>I write about in the Languages of Magic, how we

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<v Speaker 1>use language as part of magic itself. My theory, which

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<v Speaker 1>I argue for very strongly in the book, is that

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<v Speaker 1>magic is at its core process of communication, and I'm

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<v Speaker 1>sure we'll be talking quite a bit more about that

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<v Speaker 1>by other means of background. I am a master of

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<v Speaker 1>the Temple in the Temple of set I have been

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<v Speaker 1>part of that organization for will be twenty five years

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<v Speaker 1>coming up this fall. But before that, I've been interested

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<v Speaker 1>in many things that the Temple is interested in, namely,

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<v Speaker 1>what does it mean to be a self and what

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<v Speaker 1>does it mean to create more of what that self is,

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<v Speaker 1>Whether that's becoming more potent and powerful out in the world,

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<v Speaker 1>whether it's becoming more able to meet your own goals

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<v Speaker 1>and ideas and ideals, and what that may mean for

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<v Speaker 1>us when we're no longer have this meat sack to

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<v Speaker 1>carry around and give our consciousness something to manifest through.

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<v Speaker 1>That's been a lifelong fascination of mine as well. I

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<v Speaker 1>spent a number of years in the bit minds as

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<v Speaker 1>I like to call it, aka the tech industry, but

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<v Speaker 1>finally departed from that white last year and uh have

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<v Speaker 1>returned to private study to continue some of my deeper,

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<v Speaker 1>uh deeper thoughts than just uh what sort of system

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<v Speaker 1>to set up this week to serve some corporate overword.

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<v Speaker 3>Uh that sounds good.

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<v Speaker 1>Let's let's let's start from there and see where it goes.

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<v Speaker 3>Awesome, awesome. Uh. I guess if you don't I mean,

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<v Speaker 3>if you don't mind what you did, you could you

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<v Speaker 3>maybe give a little bit of an idea, I guess, like,

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<v Speaker 3>what was your experience like with the Temple of Set? One?

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<v Speaker 3>I have one question I did want to ask, is

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<v Speaker 3>that I do think on your one of your books,

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<v Speaker 3>your last book. Michael Aquino did the forward for did

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<v Speaker 3>You Actually Know?

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<v Speaker 1>Yes, I knew doctor A Queena very well well a

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<v Speaker 1>guest in his home several times. He was very supportive

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<v Speaker 1>of that book because it was based originally in a

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<v Speaker 1>large part among something that he wrote. When so, as

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<v Speaker 1>some of your readers, our listeners may not know, the

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<v Speaker 1>Temple of Set originally began as sort of a a

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<v Speaker 1>sequel of sorts to what certain people saw in the

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<v Speaker 1>early years of the Church of Satan in nineteen seventy five,

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<v Speaker 1>there was a bit of a disagreement with Anton Leave

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<v Speaker 1>about the direction he wanted to take things in. Some

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<v Speaker 1>people took that as a as a betrayal of what

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<v Speaker 1>the church was originally about, and they left and then

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<v Speaker 1>up forming the Temple of Set. And why it was

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<v Speaker 1>Temple of Set and not not Temple of Satan or

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<v Speaker 1>something along those lines is as much longer topic, but

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<v Speaker 1>we can also talk about that if need be. But

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<v Speaker 1>the so the Temple kind of has its roots in

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<v Speaker 1>the Church of Satan. When Anton Olive was writing the

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<v Speaker 1>Satanic Rituals, which came out in seteen seventy two, he

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<v Speaker 1>was sort of pressed for a deadline and he asked

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<v Speaker 1>a Quino, who was sort of his left hand man,

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<v Speaker 1>if you will, at the time, to contribute a couple

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<v Speaker 1>of things to it, or along basically ideas about how

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<v Speaker 1>one might use the fiction of HP Lovecraft to create magic. Lovecraft,

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<v Speaker 1>as most people know, was a staunch materialist, was very opposed,

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<v Speaker 1>very skeptical about the idea of magic itself. So it's

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<v Speaker 1>a bit strange to take something from someone who was

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<v Speaker 1>that skeptical about the idea and then turn it into

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<v Speaker 1>something you can actually use. But one of the things,

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<v Speaker 1>and I talk about this quite a bit in the

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<v Speaker 1>languages of magic as well, one of the things about

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<v Speaker 1>that is it doesn't matter if something like that is real,

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<v Speaker 1>or even if its author thinks that there is reality

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<v Speaker 1>to it, you can't use it as part of the

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<v Speaker 1>things that the mind is capable of creating. You can

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<v Speaker 1>use it as part of our imagination. But it's not

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<v Speaker 1>just imagination. It's not just spinning a story. It's creating

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<v Speaker 1>something new out of those pieces. We we have this

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<v Speaker 1>strange ability as humans to take pieces of what we

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<v Speaker 1>find in culture, whether it's from other people or some

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<v Speaker 1>things that we create on our own, and to recombine

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<v Speaker 1>them to make assemblages out of them into new things

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<v Speaker 1>that now are They are just as real as you

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<v Speaker 1>know the share that I'm sitting on in one sense,

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<v Speaker 1>but that doesn't mean that they're actual. They have reality

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<v Speaker 1>and that we can talk about them, we can think

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<v Speaker 1>about them, we can we can picture them in our minds.

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<v Speaker 1>But when you take something that is that has a

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<v Speaker 1>real existence but is not yet actual within the world

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<v Speaker 1>and then turn it into something that you know makes

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<v Speaker 1>a thud on the table if you will, then you've

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<v Speaker 1>given it something beyond just mirror uh speculation. You've turned

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<v Speaker 1>into something that now has an effect, has a presence

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<v Speaker 1>that can be further used. So the things that the

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<v Speaker 1>two things, well three things actually that Aquino contributed to

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<v Speaker 1>the Satanic rituals, where the rituals the ceremony of the

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<v Speaker 1>Nine Angles and the call to Cthulhu. And he also

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<v Speaker 1>contributed an essay called the Metaphysics of love Craft where

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<v Speaker 1>he talks about some of these same ideas how you

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<v Speaker 1>would use these fictional creations to create real things, and

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<v Speaker 1>that the sort of the magical system implied by those

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<v Speaker 1>two rituals is the thrust of this book, which I

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<v Speaker 1>talked quite a bit about HP lef Craft. I talk

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<v Speaker 1>quite a bit about the left hand Path as a concept.

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<v Speaker 1>I talk quite a bit about how you can combine

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<v Speaker 1>some of the influences that came into left Craft, and

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<v Speaker 1>some of the influences came into Michael Aquino, like the

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<v Speaker 1>number of mysticism of Pythagoras, things like this, and combine

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<v Speaker 1>them into a new magical system that opens up new

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<v Speaker 1>ways of working within the world that maybe weren't quite

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<v Speaker 1>there in the same form before, and the last thing

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<v Speaker 1>I was going to mention for that is where this

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<v Speaker 1>led to the closer association with Aquino of several reasons. One,

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<v Speaker 1>he was an extraordinarily generous and friendly man. He was

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<v Speaker 1>certainly willing to talk to anyone who wanted to drop

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<v Speaker 1>a mcneila in chat, whether they were in the Temple

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<v Speaker 1>or not. But for people who were in the Temple

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<v Speaker 1>that he was more than willing to support them on

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<v Speaker 1>the projects, to give them feedback, to give them help,

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<v Speaker 1>to mentum them in a sense. It also helps that

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<v Speaker 1>I had become the Grand Master of the Temple's Order

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<v Speaker 1>of the Trapezoid, which was a subgroup within the Temple

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<v Speaker 1>that was originally founded by a Quino. So it was

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<v Speaker 1>sort of since I had taken over, you know, something

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<v Speaker 1>that was near and near to his heart. I'm sure

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<v Speaker 1>that held quite a bit, and so when I began

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<v Speaker 1>to write this book, I immediately asked him that he

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<v Speaker 1>would be willing to contribute something to it, both to

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<v Speaker 1>honor that influence that I took from him, but also

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<v Speaker 1>because he was uniquely positioned to say something about it

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<v Speaker 1>that no one else could same thing with asking Stephen

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<v Speaker 1>Flowers to do the afterword the nine Angles, the system

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<v Speaker 1>created out of the ceremony of the nine Angles, which

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<v Speaker 1>has nothing to do those those idiots that call themselves,

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<v Speaker 1>you know, a magical group of nine angles in the name.

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<v Speaker 3>I was I'm.

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<v Speaker 4>Weird question.

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<v Speaker 1>Yeah, it was largely take was only developed by Flowers

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<v Speaker 1>within the temple. So Aquino was kind of and a

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<v Speaker 1>lot of things he wrote about he was kind of

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<v Speaker 1>the idea man, you know. He would have an idea

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<v Speaker 1>thrown out of the world other people to run with

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<v Speaker 1>it and make new things out of it.

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<v Speaker 7>Uh.

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<v Speaker 1>And this system, magical system that we call the nine Angles,

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<v Speaker 1>is one of those things. And so it was a

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<v Speaker 1>natural progression to ask the two people most responsible for

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<v Speaker 1>turning this into something we could work with, uh, to

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<v Speaker 1>write a ford and afterward to.

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<v Speaker 3>The book makes sense.

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<v Speaker 1>And Stephen Flowers was also kind enough to write a

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<v Speaker 1>four to my My book came out soon, which again

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<v Speaker 1>is appropriate because his ideas were the root of what

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<v Speaker 1>became this book. That was my first exposure to the

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<v Speaker 1>idea of magic and communication as having something to do

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<v Speaker 1>with each other. But sides just the fact that we

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<v Speaker 1>happen to use words in a ritual.

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<v Speaker 3>I like it.

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<v Speaker 5>I like it.

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<v Speaker 3>I guess I have I guess two other questions before

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<v Speaker 3>we start getting into the book, or a least from me.

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<v Speaker 3>Two of them. One, I really just want you to

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<v Speaker 3>maybe kind of give you a brief description, because I

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<v Speaker 3>don't know if I've ever had anybody on my show before.

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<v Speaker 3>I'm not saying there's a problem with it. It's just

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<v Speaker 3>I never had anybody on my show before who said

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<v Speaker 3>they were into the left hand path. I would like

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<v Speaker 3>you to at least maybe tell my listeners what does

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<v Speaker 3>that mean to you?

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<v Speaker 1>Sure? So, the left hand path is one of those things.

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<v Speaker 1>It has a lot of different shades of meaning depending

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<v Speaker 1>on the perspective one is approaching it from. If you

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<v Speaker 1>go back to sort of the origin of the term

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<v Speaker 1>in India, it has a specific meaning there which is

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<v Speaker 1>similar to, but not exactly the same as we use

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<v Speaker 1>in the West. The idea was brought into Western esotericism,

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<v Speaker 1>if you will buy Madam Bolvatski the theosophy and all that,

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<v Speaker 1>and originally it was sort of a shorthand for the

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<v Speaker 1>things that she didn't like. These were the evil things

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<v Speaker 1>that you shouldn't do, and she contrasted with the right

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<v Speaker 1>hand path, which was the good and the light and

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<v Speaker 1>the things you should aspire to. You see a similar

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<v Speaker 1>usage carried on coming from the same place by Alistair

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<v Speaker 1>Crowley when he talks about you know, a brother of

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<v Speaker 1>the left hand path. He's using that in very pejorative term.

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<v Speaker 1>What the left hand path means within the temple is

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<v Speaker 1>it means primarily two things. It means one that it

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<v Speaker 1>is a path toward some level of self deification, meaning

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<v Speaker 1>that we can become like God's in some way, in

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<v Speaker 1>part by doing the things that gods do. If you

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<v Speaker 1>want to create, you do things that creators do. If

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<v Speaker 1>you want to become a god, you do things that

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<v Speaker 1>gods do. And this is done through introspection, is done

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<v Speaker 1>through magic, is done through a continual process of refining

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<v Speaker 1>the self. As I spoke of earlier, that's something in

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<v Speaker 1>the temple we call kever. This is an Egyptian term.

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<v Speaker 1>It means, depending on the context, it means the dawn,

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<v Speaker 1>but it also means to become or to come into being.

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<v Speaker 1>And this is the idea that you should always be

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<v Speaker 1>striving to become something more than you are currently. To

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<v Speaker 1>take what's the best of you now and make that

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<v Speaker 1>ever more potent, ever stronger, ever have a greater reach. Now,

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<v Speaker 1>the catch is is you can't make it infinite. You

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<v Speaker 1>If it becomes infant, then you've now become exactly the

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<v Speaker 1>same as the universe as a whole, and that's not

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<v Speaker 1>what we're seeking to do. So you have to have

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<v Speaker 1>some level of definition, some level of boundaries around it.

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<v Speaker 1>But that's doesn't mean that you're limited. The boundaries just

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<v Speaker 1>become where the edges of what you're capable of. Now

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<v Speaker 1>that can be expanded as part of the way that

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<v Speaker 1>you grow, as part of the way that you gever

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<v Speaker 1>if you will. And so the way that we approach

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<v Speaker 1>the left hand path is through the process of initiation,

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<v Speaker 1>which is that refinement of the self, through through magic,

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<v Speaker 1>through introspection, through study, through through seeking out those things

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<v Speaker 1>that are holding us back from being what we could

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<v Speaker 1>be and finding new way, finding new places in which

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<v Speaker 1>to grow ourselves. That can be, you know, some new

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<v Speaker 1>level of knowledge, it can be some new level of

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<v Speaker 1>strength and power within within the world. It could be

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<v Speaker 1>it's really up to the person what what that means

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<v Speaker 1>to them, because it ultimately it has to be self

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<v Speaker 1>defined that's another part of the left hand path, as

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<v Speaker 1>we see it, is that you are ultimately responsible for it.

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<v Speaker 1>No one can tell you what it is. You must

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<v Speaker 1>decide what it needs to be for you, and the

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<v Speaker 1>extent to which you are faithful to that quest, you know,

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<v Speaker 1>is that's the measure of success, not what anyone else

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<v Speaker 1>thinks about what you're doing or thinks about the things

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<v Speaker 1>that you may study, your things about the things you

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<v Speaker 1>may you right and become. Now we do stress, of course,

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<v Speaker 1>not if you start off as an asshole and you

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<v Speaker 1>initiate yourself, sometimes you just become a bigger asshole, and

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<v Speaker 1>that's not the goal. If you start off as an

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<v Speaker 1>asshole and you encounter initiation, then the goal is to

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<v Speaker 1>become less of an asshole. You know, to be a

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<v Speaker 1>bit crued with it, because we when you when you

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<v Speaker 1>undergo initiation, when you're trying to expand the boundaries of yourself,

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<v Speaker 1>your entire self is along for the ride. You may,

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<v Speaker 1>you know, just say, for example, you know have some

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<v Speaker 1>some addiction. You know that that you also carry along

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<v Speaker 1>if you don't also seek to evaluate that for what

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<v Speaker 1>it is, and it's up to you to decide whether

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<v Speaker 1>that needs to still be a part of yourself or not.

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<v Speaker 1>But if you're not looking for something like that that

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<v Speaker 1>may be holding you back in some way, it's only

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<v Speaker 1>become more powerful along with everything else. So we have

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<v Speaker 1>to approach is in a very holistic manner. You have

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<v Speaker 1>to think about your entire self, even if you may

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<v Speaker 1>be concentrating on one part of yourself. Everything is along

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<v Speaker 1>for the ride, and that's a crucially important aspect of

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<v Speaker 1>the way we approach this within the Temple at least.

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<v Speaker 3>I like that. Thank you. Anybody have any questions before

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<v Speaker 3>I ask another one.

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<v Speaker 5>I have a quick question for Toby.

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<v Speaker 6>It's not from me, but it is from someone who

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<v Speaker 6>I have been reading some of the we'll say outer

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<v Speaker 6>the available online available Michael Quino, specifically the colored tablets.

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<v Speaker 6>I've read the Onyx, the Ruby, and the Sapphire. So

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<v Speaker 6>someone else that I've been reading them with he had

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<v Speaker 6>a question and I and I promise that if I

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<v Speaker 6>had this opportunity, I would ask it for him.

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<v Speaker 5>So I'm sorry, Just give me a second and I

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<v Speaker 5>will pull it up.

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<v Speaker 6>Okay, So he is asking if the properties of the

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<v Speaker 6>angles I either psychological effects and their utility and magical operations,

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<v Speaker 6>is exhausted when the consciousness decouples from its physical from

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<v Speaker 6>its physical support in the body. So I think he's asking,

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<v Speaker 6>is there like it does an angle inherently imply perception

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<v Speaker 6>and point of view, like a positionality, a cosmology, and

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<v Speaker 6>an ontology. If I understand his question, that's what I

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<v Speaker 6>think he's asking.

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<v Speaker 1>Right, Well, that's that'd be quite a long answer to

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<v Speaker 1>answer in full, but let me let me do that

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<v Speaker 1>because I think the little help web of varstination. So

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<v Speaker 1>what you're referring to here, there's there's a symbol at

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<v Speaker 1>the top, which is what's called within the nine angles.

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<v Speaker 1>This is called the seal of Aruna. Runa is mystery.

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<v Speaker 1>That's the root of the word for rune, but its

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<v Speaker 1>original sense in the Germanic languages was mystery. These are

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<v Speaker 1>not There's not just the mystery of like where you

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<v Speaker 1>where you left your car keys. This is like the

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<v Speaker 1>eternal mysteries that you're attempting to go. When I spoke

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<v Speaker 1>earlier about the idea of initiation and expanding the boundaries

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<v Speaker 1>of yourself, part of what you're doing is you're finding

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<v Speaker 1>those things that are mysterious to you, that pull you forward,

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<v Speaker 1>and you're attempting, they become the fuel that you use

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<v Speaker 1>for initiation. So with within the symbol, you'll if you

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<v Speaker 1>imagine this without the trapezoid in the middle, if you

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<v Speaker 1>imagine just the pentagram and the circle around it, you

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<v Speaker 1>have what we call the temple of the pentagram of set.

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<v Speaker 1>And what the pentagram of set signifies. The reason is

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<v Speaker 1>the the symbol for the temple in a sense is

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<v Speaker 1>it signifies as something very core about or cosmology. And

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<v Speaker 1>that is the distinction between the subjective universe and the

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<v Speaker 1>objective universe. The way these terms are used is that

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<v Speaker 1>the subjective universe will actual when they start the objective.

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<v Speaker 1>The objective universe is the universe of matter and the

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<v Speaker 1>law physical laws, things you can touch and things that

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<v Speaker 1>affect things that can be touched. In the physical sense,

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<v Speaker 1>this has this has no intelligence of guiding it. You know,

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<v Speaker 1>it's driven by the physical laws that hold it together.

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<v Speaker 1>The pentagram signifying the subjective universe is the individual awareness

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<v Speaker 1>of any sentient being. This could be humans. They could

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<v Speaker 1>also be you know, animals and even arguably plants have

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<v Speaker 1>some degree of sentience that they that they display, meaning

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<v Speaker 1>that they can respond to things that they sense and

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<v Speaker 1>in depending on the nature of what it is they

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<v Speaker 1>sense and sometimes they can decide how to respond. It's

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<v Speaker 1>not just an instinctual thing, but it's also a deliberate,

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<v Speaker 1>deliberative thing that can be done. And the reason these

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<v Speaker 1>are shown in the panagram upset is not touching is

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<v Speaker 1>the idea that this idea of self awareness is not

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<v Speaker 1>something that is explainable through the laws of the material universe.

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<v Speaker 1>It's something that seems to arise somehow above It emerges

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<v Speaker 1>somehow from the interactions of things within the universe, comes

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<v Speaker 1>from outside it in a sense, when you add in

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<v Speaker 1>the trapezoid to become to become the seal over in them.

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<v Speaker 1>This is this This is short of shortly the implicit

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<v Speaker 1>connection between the two. When I said earlier that the

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<v Speaker 1>subjective universe is not dependent on the objective universe, it

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<v Speaker 1>doesn't mean that doesn't touch it. Clearly it does. If

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<v Speaker 1>I decide to reach out and you know, push a

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<v Speaker 1>book off off my bookshelf in the back, I have just,

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<v Speaker 1>through the power of my mind, implemented that in the

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<v Speaker 1>world to cause some physical thing to happen. So clearly

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<v Speaker 1>we can have effects on that objective universe. But what

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<v Speaker 1>it means is that I can I can conceive the

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<v Speaker 1>things that are not possible within the objecutive universe. I

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<v Speaker 1>can conceive, you know, creatures that don't exist. Like in fact,

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<v Speaker 1>the representation of set to the ancient Obgyptians is an

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<v Speaker 1>animal that there is no It's not there is no

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<v Speaker 1>one animal that represents It's an amalgam of different things

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<v Speaker 1>that represents something that can be conceived but not actualized

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<v Speaker 1>within the world. Now, to go back to your to

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<v Speaker 1>the question, and I hope this was clear enough to

404
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<v Speaker 1>make a bit of a foundation around it. Perception is

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<v Speaker 1>closely connected with the pentagram, with the star itself, the

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<v Speaker 1>subjective universe. Now, the way the reason that the that

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<v Speaker 1>the trap is alids shown the way it is. You

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<v Speaker 1>notice how it only touches the You know that the

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<v Speaker 1>star does not touch the circle at all, but the

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<v Speaker 1>trapezoid touches that it after two points. So one of

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<v Speaker 1>the things that Stephen Flowers added to the Nine Angles

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<v Speaker 1>coming out of the ceremony of the Nine Angles by

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<v Speaker 1>Michael Aquino was this idea of keywords, the idea that

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<v Speaker 1>you can have a word that encapsulates what that what

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<v Speaker 1>that angle means. I'm not going to go through the

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<v Speaker 1>entire set because of time here, but I will say

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<v Speaker 1>that the first four, which would be the starting with

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<v Speaker 1>the upper right of the trapezoid, then the upper upper left,

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<v Speaker 1>than the lower left, than the lower right, one, two, three,

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<v Speaker 1>and four. He referred to them as chaos order, understanding

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<v Speaker 1>and being. He noticed that the only two places does

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<v Speaker 1>a type So understanding and being are these two places where,

423
00:22:50.160 --> 00:22:53.440
<v Speaker 1>according to this way of looking at the the subjective

424
00:22:53.519 --> 00:22:56.279
<v Speaker 1>universe in its relation to the objective universe, those are

425
00:22:56.279 --> 00:22:58.559
<v Speaker 1>the two places where it coincides. These are the mechanism

426
00:22:58.640 --> 00:23:00.960
<v Speaker 1>through which you were able to both know something of

427
00:23:01.000 --> 00:23:04.079
<v Speaker 1>the objective universe. Because we can observe it, we can

428
00:23:04.559 --> 00:23:07.920
<v Speaker 1>we can determine what laws it seems to follow, et cetera.

429
00:23:08.880 --> 00:23:11.920
<v Speaker 1>But it's also how we can affect it through this

430
00:23:12.079 --> 00:23:15.599
<v Speaker 1>understanding and being. Another way to look at that, and

431
00:23:15.680 --> 00:23:17.519
<v Speaker 1>this is where it becomes relevant to your question, is

432
00:23:17.519 --> 00:23:20.319
<v Speaker 1>you can look at this as not just the interplay

433
00:23:20.359 --> 00:23:25.319
<v Speaker 1>between understanding and being, but the interplay between perspective, and

434
00:23:27.599 --> 00:23:31.079
<v Speaker 1>that's another way to put it. And significance, what things,

435
00:23:31.200 --> 00:23:34.319
<v Speaker 1>what things you assigned significance to both within yourself and

436
00:23:34.359 --> 00:23:39.759
<v Speaker 1>beyond yourself out the hope, and you know, no one

437
00:23:39.799 --> 00:23:44.839
<v Speaker 1>knows because it's uh, you know, no one has come

438
00:23:44.839 --> 00:23:46.720
<v Speaker 1>back yet to say, you know that the hope is

439
00:23:46.720 --> 00:23:49.799
<v Speaker 1>is that some level of this understanding does persist past

440
00:23:49.920 --> 00:23:52.759
<v Speaker 1>the expiration of the body. And that's certainly what we

441
00:23:52.839 --> 00:23:55.720
<v Speaker 1>in the temple believe to be the case, but we

442
00:23:55.880 --> 00:23:59.319
<v Speaker 1>also admit that there's no definitive proof we can offer

443
00:23:59.519 --> 00:24:05.039
<v Speaker 1>from that. Now, whether that persists this understanding, this perception

444
00:24:05.160 --> 00:24:09.319
<v Speaker 1>of the universe, that's probably up to the individual psyche,

445
00:24:09.680 --> 00:24:16.119
<v Speaker 1>whether it cares anymore or not it, you know what,

446
00:24:16.440 --> 00:24:20.680
<v Speaker 1>whether by what mechanism that may become possible afterwards. You know,

447
00:24:20.680 --> 00:24:22.559
<v Speaker 1>we could speculate all day on it. So I'm not

448
00:24:22.599 --> 00:24:27.319
<v Speaker 1>going to go too far down down those lines. But this,

449
00:24:27.319 --> 00:24:29.279
<v Speaker 1>this model seems to be the key to that. If

450
00:24:29.319 --> 00:24:33.400
<v Speaker 1>there is some persistence of the individuated psyche past the

451
00:24:33.440 --> 00:24:36.279
<v Speaker 1>expiration of the body, then that would seem to be

452
00:24:36.319 --> 00:24:38.880
<v Speaker 1>the model of it. And I don't know if if

453
00:24:38.880 --> 00:24:41.640
<v Speaker 1>that answers your question in a real way, because that

454
00:24:41.960 --> 00:24:46.440
<v Speaker 1>is a it's a very deep question. And I won't

455
00:24:46.480 --> 00:24:47.839
<v Speaker 1>even do the thing and say, well, buy the book,

456
00:24:47.839 --> 00:24:50.279
<v Speaker 1>because I don't I'm not sure that you would fully

457
00:24:50.640 --> 00:24:52.039
<v Speaker 1>get it from the brooke as well. But I will

458
00:24:52.039 --> 00:24:55.599
<v Speaker 1>say that one of the best ways that you can

459
00:24:57.400 --> 00:25:00.680
<v Speaker 1>answer some of those questions for yourself is by working

460
00:25:00.680 --> 00:25:03.000
<v Speaker 1>with ideas. You know, there's a there's one thing to

461
00:25:03.000 --> 00:25:05.079
<v Speaker 1>pick up a book and to only just kind of

462
00:25:05.119 --> 00:25:08.079
<v Speaker 1>read and go out that's really interesting and never do

463
00:25:08.160 --> 00:25:10.880
<v Speaker 1>anything with it. It's another thing to then take those

464
00:25:10.920 --> 00:25:13.839
<v Speaker 1>exercises and take those ideas out into the world. It's

465
00:25:13.880 --> 00:25:17.400
<v Speaker 1>the same thing of how you could read Shakespeare all

466
00:25:17.480 --> 00:25:19.599
<v Speaker 1>day long, but you'll never really understand Shakespeare until you

467
00:25:19.599 --> 00:25:21.720
<v Speaker 1>see you performed in the flesh, and you'll understand it

468
00:25:21.759 --> 00:25:25.960
<v Speaker 1>even deeper when you go perform it yourself. You can

469
00:25:26.000 --> 00:25:30.759
<v Speaker 1>call that sort of armchair occultism if you will, only

470
00:25:30.799 --> 00:25:34.440
<v Speaker 1>seeing from the perspective of your armchair, Because ideas have

471
00:25:34.519 --> 00:25:37.559
<v Speaker 1>an effect through the actions that they cause you to take.

472
00:25:38.279 --> 00:25:41.599
<v Speaker 1>You know, understanding something in a new way, absorbing some

473
00:25:41.680 --> 00:25:44.839
<v Speaker 1>new knowledge is very useful and very beneficial, and it

474
00:25:44.839 --> 00:25:48.559
<v Speaker 1>has its place. But unless that transforms your actions in

475
00:25:48.599 --> 00:25:51.200
<v Speaker 1>some way, you've limited what you can really get from it.

476
00:25:51.519 --> 00:25:54.119
<v Speaker 1>And some things can only be understood through a combination

477
00:25:54.480 --> 00:25:57.640
<v Speaker 1>of understanding and practice. There they're not possible to understand

478
00:25:57.640 --> 00:25:59.599
<v Speaker 1>just one verse with the other. You know, you can

479
00:25:59.640 --> 00:26:01.400
<v Speaker 1>read all about the physics of how to ride a

480
00:26:01.440 --> 00:26:03.279
<v Speaker 1>bike and this still doesn't help you when you get

481
00:26:03.319 --> 00:26:04.799
<v Speaker 1>on the bike for the first time and fall over.

482
00:26:07.079 --> 00:26:10.319
<v Speaker 6>Oh yes, that definitely answered a big like. I think

483
00:26:10.359 --> 00:26:12.839
<v Speaker 6>it really went into the heart of what he was asking,

484
00:26:12.920 --> 00:26:15.240
<v Speaker 6>and so I thank you for that. I think my

485
00:26:15.400 --> 00:26:19.160
<v Speaker 6>follow up would be is that when I was reading Runa,

486
00:26:19.519 --> 00:26:23.319
<v Speaker 6>there's Stephen Flowers seems to have a conceptual sort.

487
00:26:23.160 --> 00:26:24.680
<v Speaker 5>Of reference point in Tantra.

488
00:26:24.759 --> 00:26:27.519
<v Speaker 6>But I'm not saying he doesn't know, but I didn't

489
00:26:27.559 --> 00:26:32.920
<v Speaker 6>necessarily feel like he necessarily grasped some of the key points.

490
00:26:32.920 --> 00:26:35.000
<v Speaker 6>And I think you alluded to this when you introduced

491
00:26:35.039 --> 00:26:38.079
<v Speaker 6>yourself and then but then when you were explaining like

492
00:26:38.160 --> 00:26:40.880
<v Speaker 6>the trapezoids and the keywords, well that obviously makes me

493
00:26:40.880 --> 00:26:44.480
<v Speaker 6>think of shri Vidia and like the beijas and how

494
00:26:44.519 --> 00:26:47.759
<v Speaker 6>they arise from the angles as well. So maybe I

495
00:26:48.240 --> 00:26:50.839
<v Speaker 6>maybe I misjudged him, and maybe his knowledge wasn't as

496
00:26:50.839 --> 00:26:54.240
<v Speaker 6>superficial as you know I previously determined. But no, I

497
00:26:54.279 --> 00:26:55.720
<v Speaker 6>appreciate that and thank you so much.

498
00:26:56.440 --> 00:26:59.599
<v Speaker 1>Right, Yeah, I don't think that he's made an extensive

499
00:26:59.640 --> 00:27:04.559
<v Speaker 1>study of that, but I'm sure, he's He's done plenty

500
00:27:04.599 --> 00:27:08.000
<v Speaker 1>of you know, consulting, you know, good quality references on

501
00:27:08.039 --> 00:27:09.960
<v Speaker 1>things when he when he has written about them. It's

502
00:27:10.000 --> 00:27:11.839
<v Speaker 1>just not been a primary are of a study. His

503
00:27:12.079 --> 00:27:16.359
<v Speaker 1>work has been more in well, with one exception a

504
00:27:16.400 --> 00:27:18.680
<v Speaker 1>couple of exceptions, has been more in the Germanic world,

505
00:27:19.079 --> 00:27:21.319
<v Speaker 1>because that's part of his training. His PhD was in

506
00:27:21.400 --> 00:27:25.920
<v Speaker 1>Germanic languages. You know, he's as as many people are

507
00:27:25.799 --> 00:27:28.839
<v Speaker 1>aware of. He's one of, if not the most significant

508
00:27:28.839 --> 00:27:33.720
<v Speaker 1>figure in the you know, the last uh forty years

509
00:27:33.799 --> 00:27:35.920
<v Speaker 1>of the sort of the revival of awareness about the

510
00:27:35.960 --> 00:27:37.759
<v Speaker 1>ruins and what they can be used for beyond just

511
00:27:37.799 --> 00:27:41.319
<v Speaker 1>a system of writing. You know. He he has attempted

512
00:27:41.319 --> 00:27:45.119
<v Speaker 1>to apply his methods in other places, like to zorat Astrianism,

513
00:27:45.880 --> 00:27:48.079
<v Speaker 1>which he sees as kind of like the root of

514
00:27:48.359 --> 00:27:52.599
<v Speaker 1>an into deep into European route of many other aspects

515
00:27:52.599 --> 00:27:56.079
<v Speaker 1>of magic, the pop up into places like India, ancient Greece,

516
00:27:57.400 --> 00:28:01.920
<v Speaker 1>the Germanic world, et cetera. And he's also written a

517
00:28:01.920 --> 00:28:05.240
<v Speaker 1>book called Hermetic Magic where he looks at the Greek

518
00:28:05.279 --> 00:28:07.799
<v Speaker 1>magical papairai, which I talk about also in my book

519
00:28:07.799 --> 00:28:13.480
<v Speaker 1>with the Languages of Magic. So so yeah, I uh,

520
00:28:14.000 --> 00:28:16.160
<v Speaker 1>you know, he's he's been studying things for a long time,

521
00:28:16.200 --> 00:28:17.880
<v Speaker 1>so I'm sure he's run. I'm sure he's run across

522
00:28:17.920 --> 00:28:18.759
<v Speaker 1>things I'm not aware of.

523
00:28:18.759 --> 00:28:21.720
<v Speaker 6>Oh absolutely. And you know I agree with him if

524
00:28:21.960 --> 00:28:24.160
<v Speaker 6>that's his general thesis. I wasn't aware of it, but

525
00:28:24.279 --> 00:28:26.400
<v Speaker 6>I think Robbie and I have discussed this, and Nick

526
00:28:26.440 --> 00:28:30.440
<v Speaker 6>as well, this idea of like Iranian or an Aryan

527
00:28:30.680 --> 00:28:35.440
<v Speaker 6>or a Zoroastrian perhaps or protos Aoastrian origin, for like

528
00:28:35.440 --> 00:28:38.359
<v Speaker 6>the Cobalistic tree and for a lot of magical ideas

529
00:28:38.519 --> 00:28:41.079
<v Speaker 6>that came out of Central Asia for sure.

530
00:28:40.920 --> 00:28:44.440
<v Speaker 1>Right, yeah, if you're interested in seeing where he kind

531
00:28:44.480 --> 00:28:46.880
<v Speaker 1>of took that, especially the Zoroastrian angle, he as a

532
00:28:46.880 --> 00:28:50.920
<v Speaker 1>book called Original Magic, which is also in introvisions. It's

533
00:28:50.920 --> 00:28:53.880
<v Speaker 1>probably I don't know, five years old or so at

534
00:28:53.880 --> 00:28:58.640
<v Speaker 1>this point, but that was kind of his some of

535
00:28:58.680 --> 00:29:02.000
<v Speaker 1>his writing about or Astrianism and some of the roots

536
00:29:02.000 --> 00:29:05.880
<v Speaker 1>he sees in other Indo European ideas that seem to

537
00:29:05.880 --> 00:29:11.119
<v Speaker 1>take their their ultimate root there. So it's kind of

538
00:29:11.160 --> 00:29:13.359
<v Speaker 1>like a you know, a worse system of magic, if

539
00:29:13.359 --> 00:29:13.920
<v Speaker 1>you will.

540
00:29:16.200 --> 00:29:18.359
<v Speaker 3>Thank you.

541
00:29:18.880 --> 00:29:21.640
<v Speaker 4>I had a quick, a quick thing, would you based

542
00:29:21.680 --> 00:29:26.039
<v Speaker 4>off what your definition of the subjective universe? Would you

543
00:29:26.880 --> 00:29:29.880
<v Speaker 4>consider it to be because when I think of left

544
00:29:29.880 --> 00:29:32.200
<v Speaker 4>hand I think of right brain. And when I think

545
00:29:32.240 --> 00:29:37.079
<v Speaker 4>of right brain, I think of creativity, of intuition, of

546
00:29:37.519 --> 00:29:40.799
<v Speaker 4>you know, everything isn't seen, but trying to perceive. And

547
00:29:40.880 --> 00:29:43.359
<v Speaker 4>so when you talk about the subjective and you're talking

548
00:29:43.359 --> 00:29:46.160
<v Speaker 4>about the creative, would that be correct to say that

549
00:29:46.240 --> 00:29:49.920
<v Speaker 4>it is an attempt to decipher what the right brain

550
00:29:50.680 --> 00:29:55.519
<v Speaker 4>is somewhat trying to formulate in a way that.

551
00:29:55.839 --> 00:29:58.000
<v Speaker 1>Wasn't the origin of the ideas, but that's certainly one

552
00:29:58.000 --> 00:30:02.839
<v Speaker 1>way that you could apply them. Original taking the left

553
00:30:02.880 --> 00:30:06.599
<v Speaker 1>hand path for the description of what the way the

554
00:30:06.599 --> 00:30:09.079
<v Speaker 1>temple looks at it does have its roots back to

555
00:30:09.079 --> 00:30:14.039
<v Speaker 1>the original uh uh, Pharma, Mague and Varmachara left hand path,

556
00:30:14.119 --> 00:30:17.599
<v Speaker 1>right hand path of in England, in England, in India.

557
00:30:18.319 --> 00:30:21.720
<v Speaker 1>Where as I understand it, and I'm not an expert

558
00:30:21.880 --> 00:30:24.640
<v Speaker 1>on this, so I'll try to keep it brief so

559
00:30:24.680 --> 00:30:27.799
<v Speaker 1>I don't say something something wrong. But as I recall,

560
00:30:29.119 --> 00:30:31.359
<v Speaker 1>in certain rights, you would it would have to do

561
00:30:31.400 --> 00:30:34.119
<v Speaker 1>with the position of the people within within the rights

562
00:30:35.000 --> 00:30:38.480
<v Speaker 1>about whether which direction the energy of the universe was flowing.

563
00:30:38.799 --> 00:30:40.400
<v Speaker 1>If you were trying to have it to flow towards

564
00:30:40.440 --> 00:30:42.880
<v Speaker 1>the left, to kind of go against against the flow

565
00:30:43.079 --> 00:30:45.039
<v Speaker 1>or go with the right, which was the natural flow.

566
00:30:49.160 --> 00:30:51.279
<v Speaker 1>But the thing is and I go. I go into

567
00:30:51.319 --> 00:30:53.200
<v Speaker 1>this quite a bit in the languages of magic, which

568
00:30:53.240 --> 00:30:56.000
<v Speaker 1>is largely about how the way that the way that

569
00:30:56.119 --> 00:31:01.960
<v Speaker 1>we can work with variances in the meanings of words

570
00:31:02.000 --> 00:31:04.799
<v Speaker 1>as part of magic towards and other science as part

571
00:31:04.839 --> 00:31:07.319
<v Speaker 1>of magic, is that once you start to use a

572
00:31:07.400 --> 00:31:11.000
<v Speaker 1>term like that, it's it's no longer just about its

573
00:31:11.000 --> 00:31:14.319
<v Speaker 1>original context. Once you pull it out of the original context,

574
00:31:14.359 --> 00:31:16.799
<v Speaker 1>it now finds new things that it is attaches to.

575
00:31:17.440 --> 00:31:19.799
<v Speaker 1>So when someone else comes to it with certain ideas

576
00:31:19.839 --> 00:31:22.640
<v Speaker 1>about what left and right mean, whether it's left and right,

577
00:31:22.720 --> 00:31:25.079
<v Speaker 1>left or right, brain left and right on the political spectrum,

578
00:31:25.200 --> 00:31:29.000
<v Speaker 1>left and right, you know, whatever orientation you may have

579
00:31:29.160 --> 00:31:31.720
<v Speaker 1>towards those terms and what they mean in certain contexts,

580
00:31:32.240 --> 00:31:35.759
<v Speaker 1>you can start to find and even create for yourself

581
00:31:35.759 --> 00:31:40.559
<v Speaker 1>connections with those original ideas. And that's something that's often missed.

582
00:31:40.599 --> 00:31:44.359
<v Speaker 1>People sometimes think that if you if you have some

583
00:31:45.160 --> 00:31:48.160
<v Speaker 1>term that has some deep historical root that you can

584
00:31:48.200 --> 00:31:50.440
<v Speaker 1>only you're only ever allowed to use in the original sense.

585
00:31:50.480 --> 00:31:53.200
<v Speaker 1>Otherwise you're using it wrong. That's that's not the case.

586
00:31:53.240 --> 00:31:58.200
<v Speaker 1>That's how language works. Language changes over time. It makes

587
00:31:58.279 --> 00:32:00.880
<v Speaker 1>less sense now that everything is bluetooth. But the little

588
00:32:00.880 --> 00:32:03.039
<v Speaker 1>thing in your computer that you move the point around

589
00:32:03.839 --> 00:32:06.920
<v Speaker 1>when it wasn't always called a mouse. Mouse used to

590
00:32:06.960 --> 00:32:09.440
<v Speaker 1>just mean the little thing that you know lives in

591
00:32:09.480 --> 00:32:12.880
<v Speaker 1>your wall and you know, goes around on the floor.

592
00:32:13.359 --> 00:32:15.519
<v Speaker 1>But when someone said, hey, let's call it, let's kind

593
00:32:15.519 --> 00:32:17.920
<v Speaker 1>of like a mouse. Let's call it that, it sticks

594
00:32:17.960 --> 00:32:21.720
<v Speaker 1>because it captures something about what a mouse looks like.

595
00:32:21.759 --> 00:32:23.599
<v Speaker 1>It's a little it's a blob of a thing, and

596
00:32:23.640 --> 00:32:26.359
<v Speaker 1>it's got this little long thing, thin thing hanging out

597
00:32:26.400 --> 00:32:30.000
<v Speaker 1>of it. And we were able to adapt what we

598
00:32:30.039 --> 00:32:31.960
<v Speaker 1>think of as meaning. We're to go, oh yeah, I

599
00:32:31.960 --> 00:32:33.640
<v Speaker 1>can say what it means. That too, becomes like a

600
00:32:33.720 --> 00:32:35.680
<v Speaker 1>nickname that then becomes just a name for the thing.

601
00:32:36.160 --> 00:32:38.480
<v Speaker 1>And then now you wouldn't even think twice when someone

602
00:32:38.480 --> 00:32:40.039
<v Speaker 1>calls that a mouse. It just makes sense. That's just

603
00:32:40.079 --> 00:32:43.200
<v Speaker 1>the name for that thing. Now it's the same thing

604
00:32:43.200 --> 00:32:46.319
<v Speaker 1>with all words. Words change over time. That's how different

605
00:32:46.359 --> 00:32:51.119
<v Speaker 1>languages arise. It's how different languages eventually, the little changes

606
00:32:51.200 --> 00:32:55.599
<v Speaker 1>in meaning and grammar and the sounds and all that

607
00:32:55.640 --> 00:32:58.680
<v Speaker 1>accumulated the point that this now divers the same way

608
00:32:58.680 --> 00:33:02.400
<v Speaker 1>as evolution works. Eventually, enough little changes accumulat now you've

609
00:33:02.400 --> 00:33:04.480
<v Speaker 1>got big enough changes that wait, these are different things now,

610
00:33:06.119 --> 00:33:11.000
<v Speaker 1>and so yeah, so uh, what I what I usually

611
00:33:11.599 --> 00:33:15.359
<v Speaker 1>suggest with with ideas like what what you bring up

612
00:33:15.559 --> 00:33:19.200
<v Speaker 1>is that if you find it useful, to run with it,

613
00:33:19.240 --> 00:33:22.079
<v Speaker 1>because that because you're the one that creates meaning for yourself,

614
00:33:22.119 --> 00:33:24.319
<v Speaker 1>no one else can force meaning. They can attempt to

615
00:33:24.359 --> 00:33:26.640
<v Speaker 1>force meaning on you, but you ultimately decide I am

616
00:33:26.799 --> 00:33:30.720
<v Speaker 1>oneing to accept this means that. But it's also it's

617
00:33:30.759 --> 00:33:33.960
<v Speaker 1>also part of your your psyche at work trying to

618
00:33:34.000 --> 00:33:37.960
<v Speaker 1>find these connections because we are we are hardwired as

619
00:33:38.000 --> 00:33:42.920
<v Speaker 1>primates to look for these connections. When primates begin to

620
00:33:42.960 --> 00:33:46.079
<v Speaker 1>evolve and take to the trees, we we shift towards

621
00:33:46.160 --> 00:33:49.519
<v Speaker 1>Vision becomes much more important. Sense and other senses Smell

622
00:33:49.599 --> 00:33:53.119
<v Speaker 1>becomes less important. But it's also we we gain quite

623
00:33:53.160 --> 00:33:56.240
<v Speaker 1>a bit of all primates have quite a bit of

624
00:33:56.240 --> 00:33:58.960
<v Speaker 1>tactile sensibility in their fingers and in their toes. We

625
00:33:59.039 --> 00:34:01.839
<v Speaker 1>can we touch and sense things well. Vision becomes super

626
00:34:01.839 --> 00:34:04.000
<v Speaker 1>important because if you're in a tree and you're you

627
00:34:04.039 --> 00:34:06.279
<v Speaker 1>see a branch over there, you need to figure out

628
00:34:06.400 --> 00:34:08.719
<v Speaker 1>can I make it? Because if you don't that that

629
00:34:08.760 --> 00:34:11.880
<v Speaker 1>could be a problem. Right. So we we then take

630
00:34:11.920 --> 00:34:16.400
<v Speaker 1>on this visual perception, you know, this death perception that

631
00:34:16.440 --> 00:34:21.719
<v Speaker 1>allows us to judge those distances. And this this is

632
00:34:21.719 --> 00:34:23.840
<v Speaker 1>one of one of the things that just factors into

633
00:34:24.000 --> 00:34:27.199
<v Speaker 1>we we find patterns and the things we encounter. It's

634
00:34:27.239 --> 00:34:29.199
<v Speaker 1>part of how we interact with the world. And those

635
00:34:29.519 --> 00:34:32.000
<v Speaker 1>those patterns are real if the pattern has an effect

636
00:34:32.000 --> 00:34:34.199
<v Speaker 1>on us, especially if it's a beneficial effect. The pattern

637
00:34:34.239 --> 00:34:38.000
<v Speaker 1>is real if you if you recognize the pattern of

638
00:34:38.000 --> 00:34:39.480
<v Speaker 1>of a snake in the grass so that you know

639
00:34:39.559 --> 00:34:43.920
<v Speaker 1>a step over there, and you then realize the way

640
00:34:43.960 --> 00:34:46.880
<v Speaker 1>it wasn't a snake with something else that's still that

641
00:34:46.960 --> 00:34:50.199
<v Speaker 1>still benefited you, that that pattern recognition still helped you

642
00:34:50.239 --> 00:34:52.360
<v Speaker 1>in a sense, if it was a snake, it really

643
00:34:52.360 --> 00:34:57.079
<v Speaker 1>helped you. Right, So we we take that as humans.

644
00:34:57.079 --> 00:34:59.599
<v Speaker 1>We're just hardwired to do it so that we can

645
00:34:59.639 --> 00:35:02.280
<v Speaker 1>predict what we need to do and to draw connections

646
00:35:02.280 --> 00:35:04.360
<v Speaker 1>between things so that we can understand what they what

647
00:35:04.400 --> 00:35:07.320
<v Speaker 1>they're about, how they work, not just will they hurt us,

648
00:35:07.400 --> 00:35:09.400
<v Speaker 1>but how we can also use them, and how we

649
00:35:09.480 --> 00:35:14.360
<v Speaker 1>can bring them into the set of tools tools on

650
00:35:14.400 --> 00:35:16.840
<v Speaker 1>the broad sense that we use to interact with the world,

651
00:35:17.199 --> 00:35:20.159
<v Speaker 1>whether the tool is a hammer, or tool is a word,

652
00:35:21.599 --> 00:35:23.719
<v Speaker 1>or or a connection between ideas.

653
00:35:27.280 --> 00:35:29.440
<v Speaker 6>Toby, one thing I wanted to add was that the

654
00:35:29.480 --> 00:35:34.800
<v Speaker 6>idea of Conrad Buddhist liturgical Sanskrit is exactly what you

655
00:35:34.920 --> 00:35:38.400
<v Speaker 6>described like. It's it's the process, the ritual process, but

656
00:35:38.480 --> 00:35:43.039
<v Speaker 6>not just ritual can also be conceptual consciousness. Purifying the

657
00:35:43.079 --> 00:35:46.440
<v Speaker 6>beja is purifying the sounds, prefying the words, and like

658
00:35:46.679 --> 00:35:51.519
<v Speaker 6>reconstituting them and remixing them in a syntax that is new,

659
00:35:51.639 --> 00:35:54.800
<v Speaker 6>updated for whatever. You know, the you go or the colpus.

660
00:35:54.880 --> 00:35:58.480
<v Speaker 6>So yeah, I think I wasn't poking fun before I was.

661
00:35:58.719 --> 00:36:01.760
<v Speaker 6>It was more of a yeah, it was an evil

662
00:36:01.800 --> 00:36:04.280
<v Speaker 6>ad joke. So it's it's toorally okay, But no, I

663
00:36:04.280 --> 00:36:06.440
<v Speaker 6>think you understand in a profound way.

664
00:36:06.599 --> 00:36:11.760
<v Speaker 1>So yeah, yeah, this idea that words have magic to

665
00:36:11.840 --> 00:36:14.440
<v Speaker 1>them is a very old idea. You know, we see

666
00:36:14.440 --> 00:36:20.320
<v Speaker 1>it in sources as different as the numa Elish, which

667
00:36:20.360 --> 00:36:23.760
<v Speaker 1>is the Babylonian creation myth. You know, in the time

668
00:36:24.000 --> 00:36:26.039
<v Speaker 1>when the the skies above and not yet been named,

669
00:36:26.039 --> 00:36:28.000
<v Speaker 1>and the gods have not been named, and the world

670
00:36:28.000 --> 00:36:30.480
<v Speaker 1>have not been named. This idea that you name things

671
00:36:30.519 --> 00:36:34.639
<v Speaker 1>into existence with thought in the Egyptian to God, that

672
00:36:34.719 --> 00:36:36.880
<v Speaker 1>he writes the events of the world, and it exists

673
00:36:36.880 --> 00:36:39.679
<v Speaker 1>that they do not occur until he writes them down.

674
00:36:40.079 --> 00:36:43.280
<v Speaker 1>Even have it that even seeps into Greek philosophy with

675
00:36:43.360 --> 00:36:48.400
<v Speaker 1>the logos. That's a very important concept there, and that

676
00:36:48.639 --> 00:36:51.599
<v Speaker 1>even seeps into early Christianity. You know, the beginning of

677
00:36:52.079 --> 00:36:56.159
<v Speaker 1>the first chapter of the Book of John. In the

678
00:36:56.199 --> 00:36:58.000
<v Speaker 1>beginning was the Word, and the word was with God,

679
00:36:58.039 --> 00:37:00.239
<v Speaker 1>and the word was God. The same sort of idea

680
00:37:00.280 --> 00:37:05.440
<v Speaker 1>that words have magic. Words convey something beyond what has

681
00:37:05.440 --> 00:37:08.679
<v Speaker 1>already been brought into being. They allow you to change

682
00:37:08.800 --> 00:37:12.679
<v Speaker 1>things in a way that you cannot do before words

683
00:37:12.679 --> 00:37:16.960
<v Speaker 1>were attached to them. And yeah, you see that in

684
00:37:17.159 --> 00:37:22.119
<v Speaker 1>so many ancient cultures, in their mythologies and in their

685
00:37:23.559 --> 00:37:26.760
<v Speaker 1>those cultures that have mythical origins for their alphabets, that

686
00:37:26.840 --> 00:37:30.639
<v Speaker 1>have gods of communication, gods of writing, like Odin. Odin

687
00:37:30.679 --> 00:37:35.079
<v Speaker 1>is a god of communication. He hangs on a tree,

688
00:37:35.559 --> 00:37:38.760
<v Speaker 1>the world tree, for nine nights without food or drink

689
00:37:38.840 --> 00:37:42.199
<v Speaker 1>or support. Then at the you know, just before the

690
00:37:42.199 --> 00:37:45.079
<v Speaker 1>moment of death, he suddenly is infused with the knowledge

691
00:37:45.079 --> 00:37:47.679
<v Speaker 1>of the ruins. This this has ruins both of the

692
00:37:47.719 --> 00:37:50.320
<v Speaker 1>sense of the mysteries, but also ruins and the later

693
00:37:50.320 --> 00:37:53.480
<v Speaker 1>in the sense of writing. He was the patron of poets,

694
00:37:55.360 --> 00:37:57.840
<v Speaker 1>et cetera. So that this is this is such a

695
00:37:57.880 --> 00:38:00.239
<v Speaker 1>deep idea of the way humans have think, think about

696
00:38:00.239 --> 00:38:03.440
<v Speaker 1>the world. And when you see ideas like that in

697
00:38:03.519 --> 00:38:06.000
<v Speaker 1>so many different mythologies that could not just be the

698
00:38:06.039 --> 00:38:10.440
<v Speaker 1>result of borrowing or cultural contact, to me, that's a

699
00:38:10.480 --> 00:38:13.400
<v Speaker 1>signal that these are reflecting something unique about what it

700
00:38:13.440 --> 00:38:16.719
<v Speaker 1>is to be a human attempting to comprehend the universe

701
00:38:16.760 --> 00:38:19.519
<v Speaker 1>around them and comprehend how to affect the universe around them.

702
00:38:20.079 --> 00:38:22.280
<v Speaker 1>And it's even the case if you think about when

703
00:38:22.360 --> 00:38:25.760
<v Speaker 1>humans acquire a language, we're acquiring language at the same

704
00:38:25.840 --> 00:38:28.800
<v Speaker 1>time the same state nerd development. When we are warning

705
00:38:28.840 --> 00:38:32.039
<v Speaker 1>to interact with the world through touch and movement, we learn, oh,

706
00:38:32.039 --> 00:38:34.239
<v Speaker 1>I can reach outside the crib, I can touch the thing.

707
00:38:34.559 --> 00:38:36.800
<v Speaker 1>At the same time we're warning how to say the

708
00:38:36.840 --> 00:38:40.159
<v Speaker 1>magic words that get Mama to bring us the things

709
00:38:40.199 --> 00:38:44.480
<v Speaker 1>that we want. Or even though eventually when we infect

710
00:38:44.519 --> 00:38:46.440
<v Speaker 1>I say the right word and now and now Mama

711
00:38:46.440 --> 00:38:49.239
<v Speaker 1>brings me candy. You know that that's a very important moment.

712
00:38:49.639 --> 00:38:52.760
<v Speaker 1>You know that, when you realize that words can affect things,

713
00:38:52.800 --> 00:38:55.880
<v Speaker 1>not just describe things. And so so many of the

714
00:38:55.880 --> 00:38:57.960
<v Speaker 1>ways that we use language or tied to this sense

715
00:38:58.000 --> 00:39:00.239
<v Speaker 1>of movement, that sense of how we interact with the

716
00:39:00.239 --> 00:39:04.639
<v Speaker 1>world around us, because they were co developed. They our

717
00:39:04.679 --> 00:39:07.480
<v Speaker 1>brain was developing both of these senses of what it

718
00:39:07.559 --> 00:39:09.559
<v Speaker 1>means to interact with the world at the same time,

719
00:39:09.960 --> 00:39:13.480
<v Speaker 1>and so they're going to be just intimately tied together.

720
00:39:15.599 --> 00:39:19.320
<v Speaker 1>And the fact that later we can then realize that

721
00:39:20.280 --> 00:39:24.360
<v Speaker 1>words can be used even more magically in what we

722
00:39:24.880 --> 00:39:29.280
<v Speaker 1>would normally call magic. That's that's not it may be

723
00:39:29.280 --> 00:39:31.800
<v Speaker 1>a revelation of putting it in those terms, but it's

724
00:39:32.239 --> 00:39:35.360
<v Speaker 1>a natural outgrowth of the way we've already innately learned

725
00:39:35.360 --> 00:39:39.199
<v Speaker 1>how to use language to interact with, unaffect the world.

726
00:39:43.559 --> 00:39:47.159
<v Speaker 1>There's a I was gonna say that, there's actually spent

727
00:39:47.239 --> 00:39:50.480
<v Speaker 1>one chapter in The Languages of Magic talking about that specifically.

728
00:39:50.480 --> 00:39:56.440
<v Speaker 1>I look at different mythologies and uh uh, mythical figure

729
00:39:56.960 --> 00:40:01.800
<v Speaker 1>mythical and legendary figures of communication parsonally to show how

730
00:40:01.880 --> 00:40:04.719
<v Speaker 1>deep and broad of an idea that is. Because it

731
00:40:04.760 --> 00:40:09.000
<v Speaker 1>really is pervasive. It's not just something that that's into European,

732
00:40:09.679 --> 00:40:14.079
<v Speaker 1>it's spans pretty much the entire world.

733
00:40:15.360 --> 00:40:17.800
<v Speaker 3>Thank you. Uh yeah, I was actually looking to try

734
00:40:17.800 --> 00:40:19.760
<v Speaker 3>to start to get into your book actually now since

735
00:40:20.519 --> 00:40:25.280
<v Speaker 3>they can't wait into the show. So I guess, you know,

736
00:40:25.360 --> 00:40:28.679
<v Speaker 3>the languages of magic? What got you? I mean besides

737
00:40:28.719 --> 00:40:31.239
<v Speaker 3>the fact, I guess of being I don't know if

738
00:40:31.280 --> 00:40:33.119
<v Speaker 3>you consider you're ocultist or what if you can consider

739
00:40:33.119 --> 00:40:35.880
<v Speaker 3>yourself besides being into that stuff? Is what got you

740
00:40:35.960 --> 00:40:38.880
<v Speaker 3>into the study of you know, got you into semiotics

741
00:40:39.119 --> 00:40:40.000
<v Speaker 3>and language?

742
00:40:40.000 --> 00:40:43.559
<v Speaker 1>Sure? Well, I don't consider myself an occultist. That that's

743
00:40:43.559 --> 00:40:48.559
<v Speaker 1>a longer that's a longer discussion, but but I do

744
00:40:48.639 --> 00:40:51.920
<v Speaker 1>consider myself a magician for certain I mean in an initiate.

745
00:40:52.639 --> 00:40:54.360
<v Speaker 1>And it realized for some people those are the same thing,

746
00:40:54.360 --> 00:40:56.519
<v Speaker 1>and that's fine too again where it's coming different things

747
00:40:56.559 --> 00:41:01.280
<v Speaker 1>in different people. But what got me into language and

748
00:41:01.320 --> 00:41:06.719
<v Speaker 1>semiotics originally? So I kind of had a fascination with

749
00:41:06.800 --> 00:41:11.280
<v Speaker 1>languages when I was younger, and when I got to

750
00:41:11.320 --> 00:41:13.239
<v Speaker 1>the point in school that I was able to city languages,

751
00:41:13.280 --> 00:41:15.719
<v Speaker 1>I took Latin. I took four years of Latin, and

752
00:41:15.760 --> 00:41:18.719
<v Speaker 1>as it happened. And this was purely, purely by by accident.

753
00:41:18.760 --> 00:41:20.480
<v Speaker 1>It was not something that I knew ahead of time.

754
00:41:20.719 --> 00:41:23.239
<v Speaker 1>As it happened the high the Latin teacher at my

755
00:41:23.320 --> 00:41:25.639
<v Speaker 1>high school had a pH d in classics. He was

756
00:41:25.679 --> 00:41:30.360
<v Speaker 1>a well respected scholar in that world, and I was

757
00:41:30.400 --> 00:41:34.719
<v Speaker 1>able to stay with him for four years. We happened

758
00:41:34.719 --> 00:41:37.239
<v Speaker 1>to be my class, happened to be positioned to be

759
00:41:37.320 --> 00:41:39.800
<v Speaker 1>the last one that started the ninth grade, and so

760
00:41:39.880 --> 00:41:42.199
<v Speaker 1>we had the opportunity to do four years. But also,

761
00:41:42.239 --> 00:41:43.480
<v Speaker 1>as it turned out, it had been a number of

762
00:41:43.559 --> 00:41:45.320
<v Speaker 1>years since he had anyone interested in it. So the

763
00:41:45.360 --> 00:41:48.559
<v Speaker 1>fourth year was more of like an independent study with

764
00:41:48.599 --> 00:41:51.159
<v Speaker 1>me and a couple of other of my friends at

765
00:41:51.159 --> 00:41:54.320
<v Speaker 1>the time. And and in fact, he became one of

766
00:41:54.360 --> 00:41:57.639
<v Speaker 1>the people I dedicated the book to because of that.

767
00:41:57.719 --> 00:42:00.960
<v Speaker 1>The book is dedicated to to my high school Latin teacher,

768
00:42:01.079 --> 00:42:03.760
<v Speaker 1>Richard Beaton, who taught me the magic of language, and

769
00:42:03.840 --> 00:42:05.840
<v Speaker 1>too Michael o'quina, who taught me the language of magic

770
00:42:07.880 --> 00:42:11.440
<v Speaker 1>and that sort of fascination with the Languageven Though I

771
00:42:11.480 --> 00:42:13.199
<v Speaker 1>kind of took a different career path for a while

772
00:42:13.239 --> 00:42:15.639
<v Speaker 1>into the IT world, as I said before, that never

773
00:42:16.039 --> 00:42:20.039
<v Speaker 1>never left. It was always kind of there. When I

774
00:42:20.079 --> 00:42:22.960
<v Speaker 1>became part of the Temple of set in two thousand,

775
00:42:24.440 --> 00:42:26.800
<v Speaker 1>I was exposed to the work of Stephen Flowers. At

776
00:42:26.800 --> 00:42:29.400
<v Speaker 1>that point, I was not aware of him before. I've

777
00:42:29.440 --> 00:42:31.920
<v Speaker 1>been interested in runes, but had not been super interested

778
00:42:31.920 --> 00:42:35.039
<v Speaker 1>in them, and that was kind of my gay way

779
00:42:35.199 --> 00:42:41.679
<v Speaker 1>into into his work. And eventually I read about his

780
00:42:41.760 --> 00:42:46.519
<v Speaker 1>PhD dissertation was about runes and magic, one of the

781
00:42:46.559 --> 00:42:51.480
<v Speaker 1>few academic studies of that, and this was in nineteen

782
00:42:51.519 --> 00:42:54.119
<v Speaker 1>eighty four, and he had a chapter where he talked

783
00:42:54.119 --> 00:42:56.639
<v Speaker 1>about theories of magic. He talked about the way that

784
00:42:56.719 --> 00:43:00.320
<v Speaker 1>anthropologists had approached the idea of magic a different points

785
00:43:00.320 --> 00:43:04.920
<v Speaker 1>in time, and he was looking at what were then

786
00:43:05.679 --> 00:43:10.800
<v Speaker 1>pretty new ideas around looking at magic as communication. That

787
00:43:10.880 --> 00:43:14.360
<v Speaker 1>sort of starts with there's a pretty famous anthropologist named

788
00:43:14.360 --> 00:43:22.800
<v Speaker 1>Brandisval Malanowski who studied the some people in the tro

789
00:43:22.840 --> 00:43:28.239
<v Speaker 1>Beyond islands in Papu window Guinea and previous anthropologists, and

790
00:43:28.280 --> 00:43:31.519
<v Speaker 1>kind I take in this idea that okay, magic is

791
00:43:31.679 --> 00:43:35.480
<v Speaker 1>like bad science, it's just fantasy. A lot of these

792
00:43:35.480 --> 00:43:38.880
<v Speaker 1>people believe these stupid things. He took a different approach.

793
00:43:39.239 --> 00:43:42.199
<v Speaker 1>He was what his approach was that well, it seems

794
00:43:42.239 --> 00:43:44.000
<v Speaker 1>to have some effect on them. It seems to mean

795
00:43:44.039 --> 00:43:47.000
<v Speaker 1>something to them. So maybe instead we should look at

796
00:43:47.199 --> 00:43:50.440
<v Speaker 1>what gives it meaning to them. Even if I disagree

797
00:43:50.480 --> 00:43:53.719
<v Speaker 1>and think they're wrong, it has meaning for them, and

798
00:43:53.760 --> 00:43:56.239
<v Speaker 1>that has value, and I want to understand that. And

799
00:43:56.440 --> 00:43:59.719
<v Speaker 1>the central part of his idea was that the words

800
00:43:59.719 --> 00:44:02.800
<v Speaker 1>that they would use in the rituals had meaning that

801
00:44:02.840 --> 00:44:05.800
<v Speaker 1>were brought into the rituals. So it becomes a very

802
00:44:05.800 --> 00:44:08.239
<v Speaker 1>important idea. Even if it happens to be some of

803
00:44:08.239 --> 00:44:10.079
<v Speaker 1>the same words they would use in a in a

804
00:44:10.119 --> 00:44:12.760
<v Speaker 1>normal setting, they took on additional meaning as part of

805
00:44:12.800 --> 00:44:16.920
<v Speaker 1>the ritual act. And so I was reading about this

806
00:44:17.079 --> 00:44:21.840
<v Speaker 1>in this chapter of Flowers's dissertation and it just it

807
00:44:21.880 --> 00:44:25.920
<v Speaker 1>made something click with me about I love how it

808
00:44:26.679 --> 00:44:28.440
<v Speaker 1>raised up the thumb every time I've blaked my hand,

809
00:44:30.320 --> 00:44:34.519
<v Speaker 1>and it kind of connected with that love of language,

810
00:44:34.519 --> 00:44:36.559
<v Speaker 1>and it made me realize, wait, there's there's something, there's

811
00:44:36.599 --> 00:44:39.000
<v Speaker 1>a deeper angle here that I've not looked at, and

812
00:44:39.039 --> 00:44:41.079
<v Speaker 1>what magic might be that I should look into a

813
00:44:41.119 --> 00:44:47.960
<v Speaker 1>bit deeper. Fast forward a bit too. When I was

814
00:44:47.960 --> 00:44:52.519
<v Speaker 1>in the very beginning of writing infrontal geometry, I was

815
00:44:54.039 --> 00:44:56.400
<v Speaker 1>one of the things that I realized is and I

816
00:44:56.519 --> 00:45:00.440
<v Speaker 1>learned this from Flowers actually originally, is that magic is

817
00:45:00.480 --> 00:45:03.039
<v Speaker 1>a problematic word. And the reason that's a problematic word

818
00:45:03.280 --> 00:45:07.480
<v Speaker 1>is that magic means all kinds of things to different people.

819
00:45:09.280 --> 00:45:10.960
<v Speaker 1>I'm not saying whether they're right or wrong, but just

820
00:45:10.960 --> 00:45:13.000
<v Speaker 1>that there's a Would you say the word magic to

821
00:45:13.000 --> 00:45:14.639
<v Speaker 1>a random person on the street, You're going to get

822
00:45:14.679 --> 00:45:17.760
<v Speaker 1>a whole range of meanings, okay. And this is a

823
00:45:17.760 --> 00:45:20.000
<v Speaker 1>problem when you're trying to be precise. It's a problem

824
00:45:20.039 --> 00:45:24.079
<v Speaker 1>when you're trying to discuss specifically whether some particular thing

825
00:45:24.320 --> 00:45:27.519
<v Speaker 1>is magic or is not magic. You need a definition

826
00:45:27.559 --> 00:45:29.639
<v Speaker 1>to measure things against. And it doesn't have to be

827
00:45:29.679 --> 00:45:32.039
<v Speaker 1>the only definitions possible, but you can at least say,

828
00:45:32.199 --> 00:45:37.440
<v Speaker 1>in this context, I'm measuring against this definition. Okay. And

829
00:45:40.960 --> 00:45:43.679
<v Speaker 1>I took a reread of that earlier work for his

830
00:45:43.760 --> 00:45:46.239
<v Speaker 1>that it grabbed me where he talks about what he

831
00:45:46.280 --> 00:45:49.199
<v Speaker 1>describes as a semiotic theory of magic. Now, he did

832
00:45:49.239 --> 00:45:51.639
<v Speaker 1>not He did not come up with the phrase semiotic

833
00:45:51.679 --> 00:45:54.599
<v Speaker 1>theory of magic. It originally goes back to an older

834
00:45:54.960 --> 00:45:57.960
<v Speaker 1>folkloress named Ronald Grambo from an article back in the

835
00:45:58.039 --> 00:46:01.679
<v Speaker 1>nineteen sixties where he he talks about his semiotic view

836
00:46:01.719 --> 00:46:06.159
<v Speaker 1>of what magic is, and I got curious. I had

837
00:46:06.199 --> 00:46:07.920
<v Speaker 1>sort of what many people have of like a general

838
00:46:08.000 --> 00:46:11.079
<v Speaker 1>understanding well semi audio something about signs and symbols, right,

839
00:46:11.440 --> 00:46:12.920
<v Speaker 1>I didn't know much else about it at the time.

840
00:46:13.199 --> 00:46:14.719
<v Speaker 1>So I started to look more into this and try

841
00:46:14.719 --> 00:46:17.519
<v Speaker 1>to understand more deeply what this means. And that that

842
00:46:17.599 --> 00:46:20.280
<v Speaker 1>really made things click, and that kind of what that

843
00:46:20.360 --> 00:46:24.400
<v Speaker 1>did is I'd already decided that infernal geometry. I wanted

844
00:46:24.400 --> 00:46:28.039
<v Speaker 1>to do two things. I wanted to talk about geometry,

845
00:46:28.280 --> 00:46:32.599
<v Speaker 1>just plain old compass and straight edge geometry. Because if

846
00:46:32.639 --> 00:46:36.239
<v Speaker 1>you're going to have a metaphor use a metaphor in magic,

847
00:46:36.440 --> 00:46:38.679
<v Speaker 1>you should have understood some understand what the metaphor actually

848
00:46:38.679 --> 00:46:42.079
<v Speaker 1>means in real life. You should have some lived experience

849
00:46:42.119 --> 00:46:46.360
<v Speaker 1>of the metaphor. This is something that I believe it

850
00:46:46.480 --> 00:46:49.239
<v Speaker 1>was Gerald Massey referred to as the living nature of

851
00:46:49.280 --> 00:46:51.800
<v Speaker 1>the nosis, the idea that's not just an idea. It's

852
00:46:51.840 --> 00:46:54.800
<v Speaker 1>something that has some some reference within the world that

853
00:46:54.880 --> 00:46:57.599
<v Speaker 1>you can claim it, that you can claim a connection to.

854
00:46:58.639 --> 00:47:00.559
<v Speaker 1>And the other I decided was to have a chapter

855
00:47:00.639 --> 00:47:03.280
<v Speaker 1>to talk about magic. So that was my inittional sort

856
00:47:03.320 --> 00:47:05.880
<v Speaker 1>of forea into let me talk about the semiotic theory

857
00:47:05.920 --> 00:47:09.119
<v Speaker 1>of magic are from my perspective, how magic is the

858
00:47:09.199 --> 00:47:12.320
<v Speaker 1>use of signs, and the sign can be a symbol

859
00:47:12.639 --> 00:47:15.320
<v Speaker 1>like this, signs or words as well. Signs are it's

860
00:47:15.360 --> 00:47:18.880
<v Speaker 1>a very kind of general term really for anything that

861
00:47:18.960 --> 00:47:22.360
<v Speaker 1>refers to something else in some way. And so these

862
00:47:22.360 --> 00:47:25.920
<v Speaker 1>are sort of kind of one practical one theoretical chapter

863
00:47:25.960 --> 00:47:27.679
<v Speaker 1>that I thought was very important to set the stage

864
00:47:27.719 --> 00:47:32.239
<v Speaker 1>so that when I started talking about angles, I can

865
00:47:32.320 --> 00:47:36.079
<v Speaker 1>know that the reader has has enough of an understanding

866
00:47:36.119 --> 00:47:38.679
<v Speaker 1>of geometry, or is reminded enough of the understanding of

867
00:47:38.679 --> 00:47:41.280
<v Speaker 1>geometry to really kind of understand precisely what I'm talking

868
00:47:41.320 --> 00:47:46.840
<v Speaker 1>about and not just you know, to think, oh, I

869
00:47:46.920 --> 00:47:49.039
<v Speaker 1>understand that, and not pay attention to the finer points

870
00:47:49.039 --> 00:47:51.800
<v Speaker 1>of it. And also with magic, to say when I

871
00:47:51.880 --> 00:47:54.000
<v Speaker 1>talk about magic, this is what I mean in this context.

872
00:47:57.239 --> 00:47:59.320
<v Speaker 1>And so yeah, so those things started to come together,

873
00:47:59.480 --> 00:48:02.599
<v Speaker 1>and this is directly related to how this new book,

874
00:48:02.599 --> 00:48:06.000
<v Speaker 1>The Language of Magic came about. When when you work

875
00:48:06.039 --> 00:48:09.880
<v Speaker 1>with a with a larger publisher and they're concerned about marketing,

876
00:48:09.920 --> 00:48:12.360
<v Speaker 1>they want to know how to market your book, and

877
00:48:12.400 --> 00:48:15.280
<v Speaker 1>everything about the book is marketing, you know, the cover

878
00:48:15.679 --> 00:48:19.360
<v Speaker 1>covers are are marketing. The title is marketing, the subtitle

879
00:48:19.400 --> 00:48:21.400
<v Speaker 1>is marketing. How it looks on the spine, it's all marketing.

880
00:48:21.400 --> 00:48:24.760
<v Speaker 1>What they write on the back about you, right, And

881
00:48:24.880 --> 00:48:27.239
<v Speaker 1>one of the things they ask you for is they say,

882
00:48:28.159 --> 00:48:31.559
<v Speaker 1>are you working on any other books right now? Because

883
00:48:31.559 --> 00:48:32.880
<v Speaker 1>that may be something they can use on some of

884
00:48:32.920 --> 00:48:36.239
<v Speaker 1>the press information and maybe something they can feed to

885
00:48:36.320 --> 00:48:39.480
<v Speaker 1>the interviewers maybe to ask about great And I didn't

886
00:48:39.480 --> 00:48:41.280
<v Speaker 1>have a solid idea at the time, but one of

887
00:48:41.280 --> 00:48:45.199
<v Speaker 1>my friends who's published books before as well, advice is like,

888
00:48:45.239 --> 00:48:48.079
<v Speaker 1>whatever you do, don't leave that blank. You make up

889
00:48:48.079 --> 00:48:50.199
<v Speaker 1>something you have to make plausible, make up something you

890
00:48:50.239 --> 00:48:51.599
<v Speaker 1>have to do. So I'm like, well, you know, if

891
00:48:51.599 --> 00:48:53.920
<v Speaker 1>I had the time, maybe sometimes I want to write

892
00:48:53.920 --> 00:48:57.360
<v Speaker 1>a book about expand semiotic theory magic into a book.

893
00:48:59.360 --> 00:49:01.239
<v Speaker 1>Little do I know that kind of sealed my fate,

894
00:49:01.719 --> 00:49:05.440
<v Speaker 1>right because I started off writing another book, but I

895
00:49:05.519 --> 00:49:10.320
<v Speaker 1>also listed as among possible books to write, and it

896
00:49:10.400 --> 00:49:12.320
<v Speaker 1>just wasn't really going anywhere. I mean, I was doing

897
00:49:12.400 --> 00:49:15.000
<v Speaker 1>the research for it, and I just couldn't find the

898
00:49:15.119 --> 00:49:17.239
<v Speaker 1>enthusiasm to really buckle down and write it. And I

899
00:49:17.280 --> 00:49:20.480
<v Speaker 1>couldn't figure out why, and then I just kind of

900
00:49:20.480 --> 00:49:22.159
<v Speaker 1>had those revelation one day. Its because you're writing the

901
00:49:22.199 --> 00:49:25.719
<v Speaker 1>wrong book, dummy. You need to look at you. You

902
00:49:25.719 --> 00:49:27.119
<v Speaker 1>need to go figure out what book you need to

903
00:49:27.159 --> 00:49:31.480
<v Speaker 1>be writing now. The funny thing is I'd been reading

904
00:49:31.559 --> 00:49:35.039
<v Speaker 1>quite a lot about language and semiotics and reading lots

905
00:49:35.039 --> 00:49:37.519
<v Speaker 1>of books. Probably can't make them out on the video,

906
00:49:37.599 --> 00:49:42.239
<v Speaker 1>but most of my library back there books about language

907
00:49:42.239 --> 00:49:45.880
<v Speaker 1>and philosophy for that reason. And it was like, you

908
00:49:45.880 --> 00:49:47.320
<v Speaker 1>know what, I want to sit down and write a

909
00:49:47.320 --> 00:49:48.840
<v Speaker 1>book about this. I had an idea, I had a

910
00:49:48.840 --> 00:49:51.599
<v Speaker 1>way to approach it, and then it went back and

911
00:49:51.639 --> 00:49:53.639
<v Speaker 1>looked I don't remember why I looked at it. I

912
00:49:53.639 --> 00:49:56.639
<v Speaker 1>went back and looked after that original author questionnaire for

913
00:49:56.679 --> 00:49:59.679
<v Speaker 1>in fronal geometry, and sure enough it says I would

914
00:50:00.079 --> 00:50:03.159
<v Speaker 1>I'm going to start researching to write this book. I'm

915
00:50:03.199 --> 00:50:06.800
<v Speaker 1>like a bit of time magic there. I guess it's

916
00:50:06.840 --> 00:50:10.599
<v Speaker 1>telling future me to write that book five years before

917
00:50:10.639 --> 00:50:15.800
<v Speaker 1>I started actually writing it. But that that interest has continued,

918
00:50:16.199 --> 00:50:17.880
<v Speaker 1>you know, I said before, I've had this long standing

919
00:50:17.880 --> 00:50:22.039
<v Speaker 1>interest in language. When I finally decided that I was

920
00:50:22.039 --> 00:50:26.199
<v Speaker 1>done with the tech industry and had been thinking about

921
00:50:26.199 --> 00:50:28.480
<v Speaker 1>what to do instead because I'm you know, not old

922
00:50:28.559 --> 00:50:31.519
<v Speaker 1>enough to retire for for good at this point, by

923
00:50:31.639 --> 00:50:36.000
<v Speaker 1>by a long shot, and decided to return to school

924
00:50:36.239 --> 00:50:39.159
<v Speaker 1>and study those things formally, so to actually get a

925
00:50:39.159 --> 00:50:41.159
<v Speaker 1>degree in it and not just have you know, the

926
00:50:41.239 --> 00:50:44.559
<v Speaker 1>autodidactic understanding I have of it now. One thing that's

927
00:50:44.559 --> 00:50:47.519
<v Speaker 1>important as to be an auto A good autodid act

928
00:50:48.000 --> 00:50:50.039
<v Speaker 1>is to talk to people that do know something about

929
00:50:50.079 --> 00:50:53.320
<v Speaker 1>those things for real, because it's easy to just follow

930
00:50:53.320 --> 00:50:57.639
<v Speaker 1>into on your ununderstanding, you know, through various connections. I

931
00:50:57.679 --> 00:51:01.519
<v Speaker 1>know people who have advanced degrees and loss of the linguistics.

932
00:51:02.280 --> 00:51:06.719
<v Speaker 1>You know, have studied semiotics, you know, at the university level,

933
00:51:06.760 --> 00:51:10.440
<v Speaker 1>et cetera, have studied uh, you know, Mesopotamia magic at

934
00:51:10.440 --> 00:51:12.440
<v Speaker 1>the university level. I talk about that some of the book,

935
00:51:13.599 --> 00:51:15.639
<v Speaker 1>and so I always check my understandings. I want to know,

936
00:51:15.880 --> 00:51:18.239
<v Speaker 1>am I am I on to something here? Or or

937
00:51:18.320 --> 00:51:20.920
<v Speaker 1>do I have this wrong? Yeah? Because you you don't

938
00:51:21.039 --> 00:51:23.119
<v Speaker 1>know if you really understand something until you start to

939
00:51:23.159 --> 00:51:25.679
<v Speaker 1>talk about it with someone, whether it's to teach it,

940
00:51:26.280 --> 00:51:28.079
<v Speaker 1>but also to talk about with someone that knows more

941
00:51:28.079 --> 00:51:30.760
<v Speaker 1>about it than you. You know, never be afraid to

942
00:51:30.960 --> 00:51:33.719
<v Speaker 1>find someone that knows something about something you think you know,

943
00:51:34.320 --> 00:51:37.519
<v Speaker 1>because you know usually you're only going to benefit from it,

944
00:51:37.800 --> 00:51:40.800
<v Speaker 1>and you only benefit through him as well. Uh Don

945
00:51:40.840 --> 00:51:44.440
<v Speaker 1>Webb has this thing he talks about which is as

946
00:51:44.559 --> 00:51:47.519
<v Speaker 1>pretty much everything he says is absolutely spot on, which

947
00:51:47.559 --> 00:51:50.639
<v Speaker 1>is that the best way to grow as a magician

948
00:51:50.760 --> 00:51:52.119
<v Speaker 1>is to work with people that are a little bit

949
00:51:52.199 --> 00:51:53.679
<v Speaker 1>a little bit ahead of where you are, a little

950
00:51:53.679 --> 00:51:57.400
<v Speaker 1>bit behind where you are. The ones that are you'll

951
00:51:57.400 --> 00:52:00.000
<v Speaker 1>both teach and to learn from both of them. Now,

952
00:52:01.519 --> 00:52:04.360
<v Speaker 1>if they're close to your ability in some way, you're

953
00:52:04.400 --> 00:52:06.079
<v Speaker 1>going to find a bit easier to work with them

954
00:52:06.079 --> 00:52:08.199
<v Speaker 1>because you're kind of on the same wavelength about what

955
00:52:08.239 --> 00:52:12.360
<v Speaker 1>things mean and how to work with them. But that

956
00:52:12.360 --> 00:52:14.920
<v Speaker 1>will bring you resources you need to help you to

957
00:52:15.000 --> 00:52:18.159
<v Speaker 1>become better whatever whatever it is you're studying. And that's

958
00:52:18.239 --> 00:52:23.440
<v Speaker 1>applies not just a magic but to many things. I mean,

959
00:52:24.280 --> 00:52:28.159
<v Speaker 1>falls right in line with his off repeated saying the

960
00:52:28.199 --> 00:52:31.599
<v Speaker 1>secret of magic is to transform the magician if you

961
00:52:31.599 --> 00:52:33.800
<v Speaker 1>want to be capable of better things and become more capable,

962
00:52:34.280 --> 00:52:36.719
<v Speaker 1>and then the better things will follow.

963
00:52:36.559 --> 00:52:38.679
<v Speaker 3>Up like that.

964
00:52:39.480 --> 00:52:43.719
<v Speaker 7>So I was going to say, Now, as far as

965
00:52:43.719 --> 00:52:46.679
<v Speaker 7>I'm an artist myself and I go through the creative process,

966
00:52:46.760 --> 00:52:49.800
<v Speaker 7>and marketing, and I'm dealing with everything you're talking about,

967
00:52:49.800 --> 00:52:52.280
<v Speaker 7>and I've been an independent artist now for going on

968
00:52:52.440 --> 00:52:56.960
<v Speaker 7>thirty plus years. But as far as the ideas of

969
00:52:57.920 --> 00:53:02.599
<v Speaker 7>language and symbolism, and you know, you have going back,

970
00:53:02.639 --> 00:53:06.880
<v Speaker 7>you know, you have the seraphic angels writing down the

971
00:53:06.960 --> 00:53:12.679
<v Speaker 7>sacred you know, happenings to all you know, thought, writing

972
00:53:12.719 --> 00:53:17.480
<v Speaker 7>creation into existence. You always have this essential idea of

973
00:53:17.559 --> 00:53:20.440
<v Speaker 7>the writing, and then you trace that writing through like

974
00:53:20.559 --> 00:53:24.920
<v Speaker 7>Cadmus coming through Thebes down into Greece and bringing those

975
00:53:25.079 --> 00:53:30.719
<v Speaker 7>letters and just the expansive quality of what writing itself

976
00:53:30.920 --> 00:53:33.400
<v Speaker 7>is in the sense, especially when you get to the

977
00:53:33.400 --> 00:53:37.639
<v Speaker 7>point and you're writing books and you're you're essentially taking

978
00:53:37.719 --> 00:53:41.760
<v Speaker 7>these these full force ideas and introducing them into the

979
00:53:41.800 --> 00:53:44.079
<v Speaker 7>minds of people, and I think that's one of the

980
00:53:44.079 --> 00:53:46.679
<v Speaker 7>most magical things that you can do. And then if

981
00:53:46.719 --> 00:53:50.320
<v Speaker 7>you layer within that the ideas of you know, showing

982
00:53:50.480 --> 00:53:56.239
<v Speaker 7>how the language itself works to be able to do

983
00:53:56.360 --> 00:54:04.119
<v Speaker 7>these subtle exercises to make reality more malleable, I think

984
00:54:04.159 --> 00:54:07.079
<v Speaker 7>it's it's one of the highest forms of magic that

985
00:54:07.119 --> 00:54:08.119
<v Speaker 7>you can participate in.

986
00:54:10.159 --> 00:54:14.360
<v Speaker 1>Absolutely, I would agree completely, yeah, yeah, And I think

987
00:54:14.400 --> 00:54:17.599
<v Speaker 1>it says something that this idea that magic and writing

988
00:54:18.320 --> 00:54:22.039
<v Speaker 1>go together somehow is such a pervasive idea. I think

989
00:54:22.079 --> 00:54:24.760
<v Speaker 1>that speaks to something that's very that's very eternal and

990
00:54:24.880 --> 00:54:26.719
<v Speaker 1>very deep in our understanding.

991
00:54:27.920 --> 00:54:29.840
<v Speaker 3>Or even this situation. It gives off an email sent

992
00:54:29.880 --> 00:54:32.920
<v Speaker 3>to me, you're on my show. Note, I mean that's

993
00:54:32.960 --> 00:54:37.639
<v Speaker 3>magically yeah.

994
00:54:37.719 --> 00:54:41.400
<v Speaker 1>But you know, one of the main sources that really

995
00:54:41.480 --> 00:54:43.000
<v Speaker 1>kind of kicked me in a high gear when I'm

996
00:54:43.039 --> 00:54:44.840
<v Speaker 1>started to really look at Language of Magic as a

997
00:54:44.880 --> 00:54:48.679
<v Speaker 1>book by a philosopher who died back in the sixties

998
00:54:48.760 --> 00:54:52.400
<v Speaker 1>named J. L. Austin, and his most famous work is

999
00:54:52.440 --> 00:54:56.079
<v Speaker 1>called How to Do Things with Words. Brilliant title I love.

1000
00:54:56.199 --> 00:54:59.440
<v Speaker 1>I love the title so much, And part of what

1001
00:54:59.440 --> 00:55:01.320
<v Speaker 1>he's talking about he's not talking about magic at all

1002
00:55:01.320 --> 00:55:03.920
<v Speaker 1>in there directly. He was a philosopher of language. He

1003
00:55:03.960 --> 00:55:06.719
<v Speaker 1>was at he was at Oxford, you know, so it was,

1004
00:55:07.920 --> 00:55:11.480
<v Speaker 1>you know, too much of a too much in the

1005
00:55:11.519 --> 00:55:14.119
<v Speaker 1>Ivory Tower to talk about magic in that sense. But

1006
00:55:14.920 --> 00:55:18.119
<v Speaker 1>what he did talk about extensively was the way that

1007
00:55:18.760 --> 00:55:21.559
<v Speaker 1>we bring things into being through language. He talks about

1008
00:55:21.599 --> 00:55:24.840
<v Speaker 1>what he calls a performative utterance sort of the canonical

1009
00:55:24.840 --> 00:55:28.400
<v Speaker 1>example of that is at a marriage you say, a

1010
00:55:28.400 --> 00:55:31.239
<v Speaker 1>now pronounce you man and wife. At the moment that

1011
00:55:31.400 --> 00:55:35.119
<v Speaker 1>said you're now married, the words themselves cause that to

1012
00:55:35.239 --> 00:55:38.000
<v Speaker 1>happen right then and there. But you say the same

1013
00:55:38.000 --> 00:55:42.119
<v Speaker 1>words in a different context. Yeah, and you know, you're

1014
00:55:42.159 --> 00:55:44.800
<v Speaker 1>joking around at a party, you you know, and then

1015
00:55:44.840 --> 00:55:47.559
<v Speaker 1>say it. Context is not there. The words don't have

1016
00:55:47.559 --> 00:55:51.440
<v Speaker 1>the same effect. The words have a context, and the

1017
00:55:51.559 --> 00:55:54.239
<v Speaker 1>words can cause things to happen just by virtue of

1018
00:55:54.519 --> 00:55:57.639
<v Speaker 1>being spoken and by someone with the right power and

1019
00:55:57.639 --> 00:56:01.440
<v Speaker 1>authority and some in and in the right context. Hugely

1020
00:56:01.440 --> 00:56:05.199
<v Speaker 1>important idea, very magical idea. When I was talking earlier

1021
00:56:05.239 --> 00:56:08.159
<v Speaker 1>about anthropologists in the late twentieth century starting to think

1022
00:56:08.199 --> 00:56:10.599
<v Speaker 1>more about the world of language and magic, that was

1023
00:56:10.880 --> 00:56:13.559
<v Speaker 1>one of the ideas they specifically pulled from. They pulled on.

1024
00:56:14.000 --> 00:56:16.239
<v Speaker 1>They put on two things. They pulled on the idea

1025
00:56:16.239 --> 00:56:19.559
<v Speaker 1>of performative speech from from Austin and they pulled on

1026
00:56:21.039 --> 00:56:26.480
<v Speaker 1>the Austrian slash English philosopher Ludwig Wittckenstein and his idea

1027
00:56:26.519 --> 00:56:28.719
<v Speaker 1>what he called a language games. What a language game

1028
00:56:28.800 --> 00:56:31.960
<v Speaker 1>is he's not talking about. He's not saying the language

1029
00:56:31.960 --> 00:56:33.719
<v Speaker 1>is frivolous or just a game or anything like that.

1030
00:56:33.920 --> 00:56:36.360
<v Speaker 1>But he's talking about the different moves that you make

1031
00:56:36.480 --> 00:56:39.119
<v Speaker 1>in certain kinds of interactions that you take. If you

1032
00:56:39.119 --> 00:56:41.400
<v Speaker 1>think about you go to Starbugs, you order a coffee,

1033
00:56:41.559 --> 00:56:43.239
<v Speaker 1>you have a you know, there's a certain there's certain

1034
00:56:43.320 --> 00:56:47.079
<v Speaker 1>rituals you go through about how you approach the counter

1035
00:56:47.199 --> 00:56:48.760
<v Speaker 1>and the and then the person of the counter asked

1036
00:56:48.760 --> 00:56:50.760
<v Speaker 1>you what you want to do, and then you there

1037
00:56:50.760 --> 00:56:54.599
<v Speaker 1>are certain things you say this to complete the ritual

1038
00:56:54.599 --> 00:56:59.400
<v Speaker 1>of correctly ordering your your morning coffee. That's a particular

1039
00:56:59.480 --> 00:57:02.119
<v Speaker 1>language game. It has certain moves, it has a meaning

1040
00:57:02.159 --> 00:57:05.639
<v Speaker 1>within a context. You take that same those same words

1041
00:57:05.800 --> 00:57:07.679
<v Speaker 1>in the same exchange out of the context, it means

1042
00:57:07.679 --> 00:57:14.159
<v Speaker 1>something completely different. Language is always contextual, and you can

1043
00:57:15.039 --> 00:57:17.199
<v Speaker 1>probably easily see how that can map onto magic if

1044
00:57:17.199 --> 00:57:20.079
<v Speaker 1>you think about I was mentioned earlier with Melanowski and

1045
00:57:20.639 --> 00:57:24.360
<v Speaker 1>the trobriand Islanders, the idea that even if they're using

1046
00:57:24.360 --> 00:57:28.880
<v Speaker 1>the same words they might use outside of a ritual context,

1047
00:57:29.000 --> 00:57:31.199
<v Speaker 1>within a ritual context, they take on certain meanings. They

1048
00:57:31.239 --> 00:57:34.960
<v Speaker 1>have an effect there they don't have elsewhere. They've become

1049
00:57:35.000 --> 00:57:38.320
<v Speaker 1>part of the language game that's used during the ritual

1050
00:57:38.320 --> 00:57:41.719
<v Speaker 1>context that is not present when they're used in a

1051
00:57:41.719 --> 00:57:45.559
<v Speaker 1>different context. And so this is very This is a

1052
00:57:45.639 --> 00:57:49.360
<v Speaker 1>very important step forward in looking at what magic can be.

1053
00:57:49.920 --> 00:57:54.159
<v Speaker 1>And what I argue at length in the Languages of

1054
00:57:54.159 --> 00:57:58.679
<v Speaker 1>magic is that you know, semiotics is as we know

1055
00:57:58.719 --> 00:58:02.400
<v Speaker 1>it today is a relatively new thing, even though it

1056
00:58:02.440 --> 00:58:06.480
<v Speaker 1>has roots going back twenty five hundred years, and of

1057
00:58:06.480 --> 00:58:09.280
<v Speaker 1>course the language goes back. You know, we're not even

1058
00:58:09.320 --> 00:58:14.719
<v Speaker 1>we're probably sure how far back language it goes. But

1059
00:58:15.760 --> 00:58:18.159
<v Speaker 1>even though we're describing it in terms that have arisen

1060
00:58:18.239 --> 00:58:22.440
<v Speaker 1>in modern times, they apply to these things that are

1061
00:58:22.480 --> 00:58:25.440
<v Speaker 1>far more ancient. They eliminate those in ways that let

1062
00:58:25.519 --> 00:58:27.960
<v Speaker 1>us understand them in deeper ways. So these are ideas

1063
00:58:27.960 --> 00:58:31.400
<v Speaker 1>that they've always been there about the language has magic,

1064
00:58:31.920 --> 00:58:35.559
<v Speaker 1>magical components to it. Now we're just what I'm doing

1065
00:58:35.599 --> 00:58:38.000
<v Speaker 1>here is not saying, ah, this is a brand new

1066
00:58:38.039 --> 00:58:40.519
<v Speaker 1>idea that language is magic in some way, or that

1067
00:58:40.599 --> 00:58:43.119
<v Speaker 1>magic can use language in some way. But it's that

1068
00:58:43.199 --> 00:58:46.400
<v Speaker 1>now we have a vocabulary we can use to look

1069
00:58:46.440 --> 00:58:50.440
<v Speaker 1>at it and far more fine grained detail to help

1070
00:58:50.519 --> 00:58:56.360
<v Speaker 1>us understand it in a deeper way. So new ideas

1071
00:58:56.440 --> 00:59:00.880
<v Speaker 1>looking back at things that they've that have they've always

1072
00:59:00.880 --> 00:59:03.199
<v Speaker 1>been part of, just not always seen for what they were.

1073
00:59:04.880 --> 00:59:06.920
<v Speaker 3>You know, I think you had mentioned something earlier. Kind

1074
00:59:06.960 --> 00:59:09.199
<v Speaker 3>of like this a little bit like people taking symbolism

1075
00:59:09.239 --> 00:59:12.079
<v Speaker 3>from like the past maybe and putting it together, or

1076
00:59:12.079 --> 00:59:14.760
<v Speaker 3>like maybe older magic, like magicians kind of look whatever

1077
00:59:14.760 --> 00:59:16.679
<v Speaker 3>you want to call them. Magicians are cult is looking

1078
00:59:16.719 --> 00:59:20.280
<v Speaker 3>at past people's stuff maybe kind of using it. Well

1079
00:59:20.280 --> 00:59:22.719
<v Speaker 3>you kind of I feel like and I know, I

1080
00:59:22.719 --> 00:59:25.960
<v Speaker 3>think your book touches on Crowley just from my opinion,

1081
00:59:26.920 --> 00:59:29.599
<v Speaker 3>I feel like he did that a lot in a sense,

1082
00:59:30.199 --> 00:59:32.599
<v Speaker 3>like once I started looking at stuff like Michael Myers,

1083
00:59:32.800 --> 00:59:36.039
<v Speaker 3>Anthony Acis, Kurt uh oh, God, who was that? Uh

1084
00:59:36.719 --> 00:59:40.119
<v Speaker 3>Heinrich Kohmrath and Empedocles people like that, I'm like, Yo,

1085
00:59:40.119 --> 00:59:42.079
<v Speaker 3>there's certain things that I feel like Crowley even might

1086
00:59:42.159 --> 00:59:44.559
<v Speaker 3>have made art with some like even like came up

1087
00:59:44.559 --> 00:59:47.199
<v Speaker 3>with ideas from pulling different things from them.

1088
00:59:47.480 --> 00:59:50.960
<v Speaker 1>And absolutely one of Croley's superpowers was to be a

1089
00:59:50.960 --> 00:59:56.440
<v Speaker 1>master synthesist of ideas. He was extraordinarily well read. He

1090
00:59:56.480 --> 00:59:59.599
<v Speaker 1>had a very classical education. He came he came from

1091
00:59:59.599 --> 01:00:03.159
<v Speaker 1>wealthy and though he later squandered it, squatded his inheritance,

1092
01:00:05.199 --> 01:00:08.599
<v Speaker 1>but you know, he he spoke French. He'd been trained,

1093
01:00:08.679 --> 01:00:10.679
<v Speaker 1>he'd been to learn French from from an early age.

1094
01:00:11.000 --> 01:00:12.440
<v Speaker 1>You know, he was very well read, and he was

1095
01:00:12.599 --> 01:00:15.480
<v Speaker 1>very he's very much a student of the history of

1096
01:00:15.519 --> 01:00:20.880
<v Speaker 1>ideas and he was he was very astute. Like I

1097
01:00:20.960 --> 01:00:24.840
<v Speaker 1>was talking earlier about drawing connections, he was able to

1098
01:00:24.920 --> 01:00:27.320
<v Speaker 1>draw these connections and go, oh, these ideas seem to

1099
01:00:27.320 --> 01:00:29.840
<v Speaker 1>connect in some way, even though you know, from a

1100
01:00:30.000 --> 01:00:33.400
<v Speaker 1>historical sense maybe they're not connected, but from a conceptual sense,

1101
01:00:33.400 --> 01:00:35.719
<v Speaker 1>they have these connections. And he was able to turn

1102
01:00:35.719 --> 01:00:40.239
<v Speaker 1>that into in some cases some extraordinarily beautiful writing, in

1103
01:00:40.280 --> 01:00:43.800
<v Speaker 1>some cases a completely obtuse writing. But that's you know,

1104
01:00:43.960 --> 01:00:47.800
<v Speaker 1>you take the good of it the bad, and so yeah,

1105
01:00:47.800 --> 01:00:49.920
<v Speaker 1>there's always one things you have to always keep in

1106
01:00:49.920 --> 01:00:52.119
<v Speaker 1>mind when you're reading Crowley and Antony Levey is no

1107
01:00:52.159 --> 01:00:54.599
<v Speaker 1>different is you always have to keep in mind, Okay,

1108
01:00:54.639 --> 01:00:59.480
<v Speaker 1>where is he getting half of us from that he

1109
01:00:59.519 --> 01:01:02.800
<v Speaker 1>sent uside? And that's the thing. Synthesizing is an art.

1110
01:01:03.000 --> 01:01:08.000
<v Speaker 1>It's not you know, everything is remax ultimately right, but

1111
01:01:08.719 --> 01:01:13.039
<v Speaker 1>synthesizing seeing connections, drawing new connections, combine them into new

1112
01:01:13.079 --> 01:01:15.400
<v Speaker 1>and novel ways. It's part of it's part of what

1113
01:01:15.559 --> 01:01:18.119
<v Speaker 1>humans do. But if you have someone that's especially skilled

1114
01:01:18.159 --> 01:01:20.199
<v Speaker 1>at it. That's also that's also very good skill to have,

1115
01:01:20.320 --> 01:01:23.559
<v Speaker 1>especially as a magician, like with Croley for example, if

1116
01:01:23.639 --> 01:01:25.480
<v Speaker 1>if you look at you know, when Croley sort of

1117
01:01:25.519 --> 01:01:27.199
<v Speaker 1>came of age as a magician, you know, in the

1118
01:01:27.199 --> 01:01:31.679
<v Speaker 1>Golden Dawn. The Golden Dawn, among other things, was riding

1119
01:01:31.679 --> 01:01:35.480
<v Speaker 1>the wave of Egyptomania in Great Britain at the time,

1120
01:01:35.800 --> 01:01:38.840
<v Speaker 1>idea that everything that was ancient Egret was cool. You know,

1121
01:01:38.880 --> 01:01:43.719
<v Speaker 1>the you know, hieroglyphics had only been deciphered in eighteen

1122
01:01:43.760 --> 01:01:47.199
<v Speaker 1>twenty two. You're starting to see things like the Greek

1123
01:01:47.280 --> 01:01:51.920
<v Speaker 1>magical Papyri were beginning to filter in from the Mediterranean

1124
01:01:51.960 --> 01:01:55.679
<v Speaker 1>world and be bought and then translated and published by

1125
01:01:55.719 --> 01:01:59.599
<v Speaker 1>the British Museum and the British Library. You were, you

1126
01:01:59.639 --> 01:02:02.639
<v Speaker 1>were seeing all these you know, archaeological exservations of Egypt,

1127
01:02:02.639 --> 01:02:04.320
<v Speaker 1>and we're warning so much about them now that we

1128
01:02:04.320 --> 01:02:07.079
<v Speaker 1>can read read the inscriptions that just have to infer

1129
01:02:07.159 --> 01:02:09.559
<v Speaker 1>from what we see, you know, written on the walls

1130
01:02:09.679 --> 01:02:13.360
<v Speaker 1>or from from statues. And so this really took hold,

1131
01:02:13.559 --> 01:02:15.280
<v Speaker 1>not just in the Magical War, but just in general.

1132
01:02:15.719 --> 01:02:20.480
<v Speaker 1>People in the Western world really as a whole were

1133
01:02:20.639 --> 01:02:23.239
<v Speaker 1>kind of obsessed with us. He starts see the pyramid power,

1134
01:02:23.360 --> 01:02:26.039
<v Speaker 1>and you know everything in Egypt is magical and all this.

1135
01:02:26.280 --> 01:02:29.239
<v Speaker 7>They were at one point they were taking mummies and

1136
01:02:29.320 --> 01:02:33.239
<v Speaker 7>grinding them up and sniffing them as they Yeah, as

1137
01:02:33.280 --> 01:02:36.880
<v Speaker 7>an alleviate, you know, for whatever symptoms.

1138
01:02:37.320 --> 01:02:41.800
<v Speaker 1>Yeah, all kinds of things that the paper than in reality.

1139
01:02:42.199 --> 01:02:46.360
<v Speaker 8>Yeah, we were eating mummy chips to right of the

1140
01:02:47.400 --> 01:02:53.039
<v Speaker 8>of the wrappings. I had one correspondence from your set

1141
01:02:53.039 --> 01:02:58.199
<v Speaker 8>of four as you were describing your symbol. It really

1142
01:02:58.239 --> 01:03:03.519
<v Speaker 8>reflects the duality of polarity of yin yang theory being

1143
01:03:04.159 --> 01:03:08.239
<v Speaker 8>major Yin and minor Yin, and major Yang and minor Yang.

1144
01:03:08.840 --> 01:03:12.519
<v Speaker 8>That being the idea of the order and chaos and

1145
01:03:12.599 --> 01:03:17.400
<v Speaker 8>the understanding and being. I found that a powerful set

1146
01:03:17.480 --> 01:03:23.800
<v Speaker 8>of four. I wanted to suggest that the semiotic work

1147
01:03:23.960 --> 01:03:25.840
<v Speaker 8>or the consciousness.

1148
01:03:25.079 --> 01:03:26.880
<v Speaker 2>Of that and the magic of that, if you will,

1149
01:03:26.920 --> 01:03:28.559
<v Speaker 2>I know that word.

1150
01:03:28.599 --> 01:03:33.159
<v Speaker 8>I appreciate that word does have some different interpretations. It

1151
01:03:33.239 --> 01:03:36.679
<v Speaker 8>reminds me of the idea of the agrigor right, the

1152
01:03:36.760 --> 01:03:41.880
<v Speaker 8>Greek word for a symbol or a fictionalized person or

1153
01:03:41.920 --> 01:03:46.280
<v Speaker 8>a thought, kind of being imbued with so much collective

1154
01:03:46.320 --> 01:03:52.239
<v Speaker 8>consciousness or individual consciousness that it kind of becomes becomes real.

1155
01:03:53.920 --> 01:03:57.079
<v Speaker 8>I wanted to ask to one little question that's maybe

1156
01:03:57.159 --> 01:04:03.400
<v Speaker 8>related to a bigger question. Can you explain your reasoning

1157
01:04:03.480 --> 01:04:08.800
<v Speaker 8>for choosing infernal in infernal geometry to someone like me

1158
01:04:08.920 --> 01:04:12.840
<v Speaker 8>who's been captivated by the biblical.

1159
01:04:12.360 --> 01:04:15.440
<v Speaker 2>West of you know, X and Y bad.

1160
01:04:16.480 --> 01:04:20.400
<v Speaker 8>And secondly, I found it very provocative you're the uh

1161
01:04:21.079 --> 01:04:25.679
<v Speaker 8>your inspiration that you might draw from the Pythagoreans, And

1162
01:04:25.960 --> 01:04:32.760
<v Speaker 8>as in relation to initiation, it's hard to find information,

1163
01:04:32.960 --> 01:04:34.920
<v Speaker 8>of course on the secret group.

1164
01:04:36.119 --> 01:04:37.119
<v Speaker 1>So what are some.

1165
01:04:37.199 --> 01:04:42.239
<v Speaker 8>Of the influences from the Pythagoreans or even practices or

1166
01:04:42.239 --> 01:04:46.159
<v Speaker 8>ideas from the Pythagoreans that you might utilize in your

1167
01:04:46.159 --> 01:04:48.360
<v Speaker 8>book or or you you appreciate.

1168
01:04:49.079 --> 01:04:52.719
<v Speaker 1>Right, So, so for the first question Infernal, I was

1169
01:04:54.400 --> 01:04:56.880
<v Speaker 1>there's a couple of reasons behind it. One, I was

1170
01:04:57.079 --> 01:05:01.039
<v Speaker 1>trying to draw an intentional contrast with sacred geometry, not

1171
01:05:01.320 --> 01:05:04.599
<v Speaker 1>because I find sacred geometry fascinating and it is completely

1172
01:05:04.639 --> 01:05:09.679
<v Speaker 1>valid in itself as well, but I was trying to

1173
01:05:10.000 --> 01:05:12.880
<v Speaker 1>emphasize that this is an explicitly left hand path approach,

1174
01:05:13.679 --> 01:05:17.159
<v Speaker 1>and so Infernal sort of seemed to fit in a

1175
01:05:17.239 --> 01:05:20.920
<v Speaker 1>sense to kind of just as a contrast to too

1176
01:05:20.960 --> 01:05:25.239
<v Speaker 1>sacred and it certainly is not meant to or intended to,

1177
01:05:26.199 --> 01:05:30.559
<v Speaker 1>uh belittle or besmirch the sacred geometry, because I say,

1178
01:05:30.559 --> 01:05:32.239
<v Speaker 1>I refer to it quite a bit in in in

1179
01:05:32.280 --> 01:05:34.719
<v Speaker 1>my book as well, because those ideas of things about

1180
01:05:34.760 --> 01:05:39.079
<v Speaker 1>the golden ratio, et cetera extraordinarily valid and interesting ideas.

1181
01:05:39.719 --> 01:05:42.360
<v Speaker 1>And as I'm sure, I'm sure you know, the pentagram itself,

1182
01:05:42.440 --> 01:05:45.639
<v Speaker 1>you know, embodies the golden ratio, and in fact, that

1183
01:05:45.719 --> 01:05:49.000
<v Speaker 1>was that was reputed to be the to be the

1184
01:05:49.079 --> 01:05:54.480
<v Speaker 1>secret symbol of the Pythagoreans because they were they thought

1185
01:05:54.519 --> 01:05:59.199
<v Speaker 1>that their understanding of the golden ratio was, you know,

1186
01:06:00.280 --> 01:06:02.320
<v Speaker 1>you know that this one of the secrets of the

1187
01:06:02.320 --> 01:06:05.400
<v Speaker 1>composition of the universe. You even see that pop up

1188
01:06:05.440 --> 01:06:09.079
<v Speaker 1>again in Plato's Dialogue of the Timaeus when he's describing

1189
01:06:09.400 --> 01:06:14.000
<v Speaker 1>the proportions in which from the absolute that that the

1190
01:06:14.159 --> 01:06:17.880
<v Speaker 1>universe is progressively created. If you if you read the

1191
01:06:17.880 --> 01:06:20.800
<v Speaker 1>way he's describing them, he's describing the golden ratio. It's

1192
01:06:20.840 --> 01:06:25.159
<v Speaker 1>like a golden spiral as as he carves off the

1193
01:06:25.159 --> 01:06:33.159
<v Speaker 1>individual pieces uh from it. With the Pythagoreans more broadly so,

1194
01:06:33.320 --> 01:06:38.679
<v Speaker 1>the Pythagorean number number mysticism. I'm specifically the Monad, the

1195
01:06:38.719 --> 01:06:42.760
<v Speaker 1>Diad and so forth. Was a was one of the

1196
01:06:42.800 --> 01:06:45.840
<v Speaker 1>sources that Michael o'quino was drawing from when he wrote

1197
01:06:45.880 --> 01:06:49.239
<v Speaker 1>The Ceremony of the Nine Angles. In that there's a

1198
01:06:49.360 --> 01:06:51.760
<v Speaker 1>there's a piece in that. I mean it's actually that

1199
01:06:51.960 --> 01:06:54.559
<v Speaker 1>that is uh is printed in full at the beginning

1200
01:06:54.559 --> 01:06:56.480
<v Speaker 1>of infernal Geometry. We don't have a copy of the

1201
01:06:56.480 --> 01:06:59.480
<v Speaker 1>Satanic rituals as well. There's there's a part in the

1202
01:06:59.519 --> 01:07:04.679
<v Speaker 1>Ceremony the Nine Angles where something is spoken that we've

1203
01:07:04.679 --> 01:07:07.000
<v Speaker 1>come to refer to as the bond of the nine Angles.

1204
01:07:08.079 --> 01:07:10.079
<v Speaker 1>These are series of nine stamens or says from the

1205
01:07:10.079 --> 01:07:12.559
<v Speaker 1>first angle is the infinite. We're in the laughing one

1206
01:07:12.639 --> 01:07:14.960
<v Speaker 1>to cry and the flutes wail into the ending of time,

1207
01:07:16.920 --> 01:07:21.000
<v Speaker 1>et cetera, which we're combining two things when they're using

1208
01:07:21.000 --> 01:07:23.599
<v Speaker 1>sort of love crafting imagery. The flut's willing to the

1209
01:07:23.679 --> 01:07:25.719
<v Speaker 1>end of time. That's as ofth Off, you know, playing

1210
01:07:25.760 --> 01:07:31.599
<v Speaker 1>the diabolical flute that brings the universe into being and

1211
01:07:31.679 --> 01:07:37.159
<v Speaker 1>haunts it throughout its existence. But it's also looking at

1212
01:07:37.159 --> 01:07:40.440
<v Speaker 1>the idea of the monad from Pythagoras, the idea of oneness.

1213
01:07:40.480 --> 01:07:43.119
<v Speaker 1>What does it mean to have a unity with that

1214
01:07:43.199 --> 01:07:46.480
<v Speaker 1>keyword of the first angle of chaos. This is not

1215
01:07:46.559 --> 01:07:49.119
<v Speaker 1>chaos of everything going every which way. This is chaos

1216
01:07:49.119 --> 01:07:53.960
<v Speaker 1>of being undifferentiated and not being guided in any way,

1217
01:07:54.199 --> 01:07:57.400
<v Speaker 1>but as pregnant with potential, is waiting to come into

1218
01:07:57.400 --> 01:08:01.519
<v Speaker 1>being as something that with a second the second angle order,

1219
01:08:01.599 --> 01:08:04.480
<v Speaker 1>now you have you have some differentiation from the one.

1220
01:08:04.599 --> 01:08:06.719
<v Speaker 1>The one is no longer a whole and by itself

1221
01:08:07.199 --> 01:08:09.760
<v Speaker 1>now there Now there are two now they but they

1222
01:08:09.800 --> 01:08:12.119
<v Speaker 1>can only have existence that are opposites of each other.

1223
01:08:12.400 --> 01:08:16.640
<v Speaker 1>One can only be with the other is not with three.

1224
01:08:16.760 --> 01:08:19.920
<v Speaker 1>Now you have the potential for a perspective. That's why

1225
01:08:20.000 --> 01:08:21.680
<v Speaker 1>that's part of why I use that as a as

1226
01:08:21.720 --> 01:08:25.119
<v Speaker 1>another word for the third angle. There the idea that

1227
01:08:25.479 --> 01:08:28.199
<v Speaker 1>if you have a third it can it no longer

1228
01:08:28.239 --> 01:08:31.119
<v Speaker 1>is constrained to be just what the other two is not.

1229
01:08:31.319 --> 01:08:34.600
<v Speaker 1>It can now decide. If you think about like three dots,

1230
01:08:34.800 --> 01:08:36.640
<v Speaker 1>you can have two dots in a line, and then

1231
01:08:36.680 --> 01:08:38.119
<v Speaker 1>the third dot can be here, can be here, can

1232
01:08:38.199 --> 01:08:41.039
<v Speaker 1>be here, can take different perspectives on the ringing two dots.

1233
01:08:41.279 --> 01:08:44.680
<v Speaker 1>It's no longer constrained in space just to be in

1234
01:08:44.760 --> 01:08:48.680
<v Speaker 1>one specific relation to the others and so forth. So

1235
01:08:50.239 --> 01:08:54.399
<v Speaker 1>talking about the idea of synthesizing roots of ideas. A

1236
01:08:54.479 --> 01:08:58.000
<v Speaker 1>Quino was was very taken with Pythagoras and his ideas,

1237
01:08:59.119 --> 01:09:03.840
<v Speaker 1>and he had that insight of the If you take

1238
01:09:03.880 --> 01:09:07.680
<v Speaker 1>some of the love crafting imagery of the Cathillu gets

1239
01:09:07.680 --> 01:09:10.479
<v Speaker 1>all the pressed. But cathill was actually barely mentioned outside

1240
01:09:10.520 --> 01:09:14.279
<v Speaker 1>of the one story of his name. You see. The

1241
01:09:14.319 --> 01:09:16.279
<v Speaker 1>four others that you see much more often in lovecraft

1242
01:09:16.319 --> 01:09:21.600
<v Speaker 1>are as Athoth, yox Othoth, nil Hotep, and Shamnigeroth. And

1243
01:09:22.000 --> 01:09:24.760
<v Speaker 1>if you look at the way that they're ascribed, as

1244
01:09:24.760 --> 01:09:28.880
<v Speaker 1>Athoth kind of has this this connotation of the chaos,

1245
01:09:29.039 --> 01:09:31.840
<v Speaker 1>the potential that's waiting to be directed in some way.

1246
01:09:32.399 --> 01:09:35.920
<v Speaker 1>Yox Otho adds some degree of order to it, you know,

1247
01:09:35.960 --> 01:09:39.479
<v Speaker 1>it becomes like the first emanation from as Athoth. Nyl

1248
01:09:39.520 --> 01:09:42.960
<v Speaker 1>Hotep becomes the interface, the messenger from from the outer

1249
01:09:43.039 --> 01:09:47.560
<v Speaker 1>gods to the uh to people. As of author sorry,

1250
01:09:47.760 --> 01:09:49.880
<v Speaker 1>nyl Hotep is the only one that that speaks to

1251
01:09:49.960 --> 01:09:55.119
<v Speaker 1>humans in their own languages in Lovecraft stories. Shabnigaroth is

1252
01:09:55.159 --> 01:09:59.600
<v Speaker 1>the the goat of a thousand young, basically the you know,

1253
01:09:59.640 --> 01:10:02.520
<v Speaker 1>the source of of all possibilities now manifested on Earth.

1254
01:10:02.920 --> 01:10:04.920
<v Speaker 1>And so he had a Quino had this insight that

1255
01:10:05.039 --> 01:10:07.119
<v Speaker 1>you could sort of draw, start to draw a cosmology,

1256
01:10:07.159 --> 01:10:11.119
<v Speaker 1>how a cosmology develops out of those to create the

1257
01:10:11.159 --> 01:10:15.039
<v Speaker 1>objective universe? You know, what is? What has you know

1258
01:10:15.079 --> 01:10:16.439
<v Speaker 1>makes a thud when you put it on the table,

1259
01:10:16.479 --> 01:10:19.720
<v Speaker 1>What has physical laws that describe how the physical matter

1260
01:10:19.760 --> 01:10:22.800
<v Speaker 1>interacts with each other? And then he combined that with

1261
01:10:22.840 --> 01:10:24.800
<v Speaker 1>those ideas of Pythagoras. But what does it mean to

1262
01:10:24.840 --> 01:10:26.680
<v Speaker 1>be a unity? What does it mean to be a duality?

1263
01:10:26.720 --> 01:10:31.239
<v Speaker 1>What does it mean to be a triad? And he

1264
01:10:31.319 --> 01:10:34.880
<v Speaker 1>also realized that even though the Pythagoras kind of goes

1265
01:10:34.880 --> 01:10:37.800
<v Speaker 1>all the way to the deck, add the ten, that

1266
01:10:37.800 --> 01:10:40.960
<v Speaker 1>that's really the one all over again, just an indifferent octave,

1267
01:10:41.000 --> 01:10:43.920
<v Speaker 1>if you will, from a different perspective, you know, starting

1268
01:10:43.960 --> 01:10:47.840
<v Speaker 1>from a from both the original place, but also something

1269
01:10:47.880 --> 01:10:50.279
<v Speaker 1>that now has has these additional things that have happened

1270
01:10:50.319 --> 01:10:53.039
<v Speaker 1>to it that give it you possibility as it begins

1271
01:10:53.039 --> 01:10:57.800
<v Speaker 1>to unfold again. And so he and so in with

1272
01:10:57.880 --> 01:11:01.479
<v Speaker 1>the nine the nine angles out of these, with the

1273
01:11:01.880 --> 01:11:04.640
<v Speaker 1>five angles of the pentagram, the four angles of the trapezoid.

1274
01:11:05.960 --> 01:11:07.359
<v Speaker 1>At the ninth angle at the bottom. That was the

1275
01:11:07.359 --> 01:11:10.560
<v Speaker 1>one he equated with with Kefer, the idea of becoming

1276
01:11:11.039 --> 01:11:12.680
<v Speaker 1>going all the way back what I was saying earlier

1277
01:11:12.680 --> 01:11:18.600
<v Speaker 1>about the temple. Ultimately when I and that's the beginning,

1278
01:11:19.119 --> 01:11:22.720
<v Speaker 1>You've you have become something new. You're becoming a new

1279
01:11:22.760 --> 01:11:26.239
<v Speaker 1>conception of yourself. You're now capable of things you were

1280
01:11:26.279 --> 01:11:28.600
<v Speaker 1>like capable of before. You can now see things you

1281
01:11:28.600 --> 01:11:32.079
<v Speaker 1>could not see before you were you know, you have

1282
01:11:32.159 --> 01:11:34.640
<v Speaker 1>extended the horizon of what's visible to you, of what's

1283
01:11:34.680 --> 01:11:36.560
<v Speaker 1>possible to you, and now you can start from this

1284
01:11:36.640 --> 01:11:40.279
<v Speaker 1>new perspective. Now you can begin the process of expanding

1285
01:11:40.439 --> 01:11:45.680
<v Speaker 1>yourself again. So there's that cycle of nine that you know,

1286
01:11:45.720 --> 01:11:48.880
<v Speaker 1>you start back over. Well, now all things are potential again,

1287
01:11:49.079 --> 01:11:53.920
<v Speaker 1>just they they have this additional base that results from

1288
01:11:53.920 --> 01:11:55.880
<v Speaker 1>what I've become, that's now available to me that was

1289
01:11:55.920 --> 01:11:58.880
<v Speaker 1>not available for me to become before. And then you

1290
01:11:58.960 --> 01:12:00.880
<v Speaker 1>go through the cycle again. So it's not all you

1291
01:12:00.920 --> 01:12:02.640
<v Speaker 1>get to the nine and then you're done. As you

1292
01:12:02.640 --> 01:12:04.880
<v Speaker 1>get to the nine and you know, all right, let's

1293
01:12:05.760 --> 01:12:08.640
<v Speaker 1>let's ride again. So like you never never want to

1294
01:12:08.640 --> 01:12:10.279
<v Speaker 1>get off the roller coaster once you get it started,

1295
01:12:10.560 --> 01:12:13.840
<v Speaker 1>it's like a pump m hm in a sense, yeah.

1296
01:12:15.239 --> 01:12:17.079
<v Speaker 3>Would be some of the just real quick, I just

1297
01:12:17.079 --> 01:12:19.079
<v Speaker 3>want to ask real quick. So, like I guess kind

1298
01:12:19.079 --> 01:12:21.760
<v Speaker 3>of like the understanding of things that you didn't before.

1299
01:12:22.640 --> 01:12:24.960
<v Speaker 3>Would you maybe say that could be like a side

1300
01:12:25.000 --> 01:12:28.560
<v Speaker 3>effect of like having magical experience? Oh?

1301
01:12:28.600 --> 01:12:31.479
<v Speaker 1>Absolutely, I mean everything that we experience informs us in

1302
01:12:31.520 --> 01:12:34.439
<v Speaker 1>some way. You know we some of them. We you know,

1303
01:12:34.479 --> 01:12:37.119
<v Speaker 1>you have like mundane experiences maybe you brush off, but

1304
01:12:37.159 --> 01:12:41.279
<v Speaker 1>then years later you think, why did I react that

1305
01:12:41.279 --> 01:12:43.439
<v Speaker 1>way when someone said that thing to me? And you realize, oh,

1306
01:12:43.479 --> 01:12:45.720
<v Speaker 1>it's because of that thing that happened years ago that

1307
01:12:45.760 --> 01:12:49.079
<v Speaker 1>you thought didn't matter anymore. Now, That's why it's very

1308
01:12:49.119 --> 01:12:54.279
<v Speaker 1>important to whatever. You can never change what you came

1309
01:12:54.319 --> 01:12:57.319
<v Speaker 1>into the world as you know what you know, your

1310
01:12:57.359 --> 01:13:04.279
<v Speaker 1>socioeconomic background, Uh, you know, your your ancestry, things like

1311
01:13:04.319 --> 01:13:07.800
<v Speaker 1>this that are you're sort of thrown into those they're

1312
01:13:07.840 --> 01:13:10.239
<v Speaker 1>always part of you. Even things like think like if

1313
01:13:10.279 --> 01:13:13.279
<v Speaker 1>you grew up in like a super Christian household, then

1314
01:13:13.279 --> 01:13:15.439
<v Speaker 1>the later you reject that, it's not enough to just

1315
01:13:15.439 --> 01:13:17.840
<v Speaker 1>say I'm not a Christian anymore, because you maybe have

1316
01:13:18.000 --> 01:13:21.520
<v Speaker 1>many things that continue to be part of your mindset.

1317
01:13:21.600 --> 01:13:24.479
<v Speaker 1>Because they were there from the beginning. So there's this.

1318
01:13:24.600 --> 01:13:26.279
<v Speaker 1>It's not a one and done thing. You have to

1319
01:13:26.319 --> 01:13:28.600
<v Speaker 1>constantly look at all, Right, what do I need to

1320
01:13:28.720 --> 01:13:32.439
<v Speaker 1>move past? We don't need to understand better about my background,

1321
01:13:32.560 --> 01:13:35.920
<v Speaker 1>about where I came from, well, what choices I've made

1322
01:13:36.000 --> 01:13:38.199
<v Speaker 1>or the consequences of the choices, but also what things

1323
01:13:38.239 --> 01:13:41.319
<v Speaker 1>I didn't have a choice in. And you have to

1324
01:13:45.319 --> 01:13:49.159
<v Speaker 1>look at how you can make make them either work

1325
01:13:49.239 --> 01:13:53.720
<v Speaker 1>for your current conception of yourself or that you can

1326
01:13:54.640 --> 01:13:57.760
<v Speaker 1>deliberately move past them instead of just saying saying yourself,

1327
01:13:57.760 --> 01:13:59.520
<v Speaker 1>well that that doesn't matter anymore. I don't want think

1328
01:13:59.520 --> 01:14:02.520
<v Speaker 1>about it anymore. Because remember earlier I was saying that

1329
01:14:02.720 --> 01:14:08.199
<v Speaker 1>you whenever you undergo initiation, your entire self was along

1330
01:14:08.239 --> 01:14:10.960
<v Speaker 1>for the ride. Things that are part of your shadow

1331
01:14:11.079 --> 01:14:13.399
<v Speaker 1>that still is clinging to you. They're still there. You

1332
01:14:13.399 --> 01:14:16.039
<v Speaker 1>can never get rid of it, but you can integrate

1333
01:14:16.079 --> 01:14:19.039
<v Speaker 1>what you think about it. You can you can gain

1334
01:14:19.039 --> 01:14:22.119
<v Speaker 1>any perspective on it. You can change your attitude towards it,

1335
01:14:22.520 --> 01:14:25.479
<v Speaker 1>even if you can never never shed the fact that

1336
01:14:25.640 --> 01:14:27.399
<v Speaker 1>you know that I'm a you know, white guy that

1337
01:14:27.399 --> 01:14:30.560
<v Speaker 1>grew up in the South, you know, lower medical class background.

1338
01:14:30.680 --> 01:14:33.479
<v Speaker 1>That's always there. There are parts of that you know

1339
01:14:33.920 --> 01:14:36.000
<v Speaker 1>that's still in form, like the way I approach some

1340
01:14:36.239 --> 01:14:38.760
<v Speaker 1>like finances. Today, I catch myself as like, oh wait,

1341
01:14:38.840 --> 01:14:42.800
<v Speaker 1>I don't have to pinch that penny anymore because I

1342
01:14:42.880 --> 01:14:44.720
<v Speaker 1>have I have means now that I didn't before. But

1343
01:14:44.760 --> 01:14:46.239
<v Speaker 1>it's so part of like the way that I grew

1344
01:14:46.319 --> 01:14:48.039
<v Speaker 1>up and what was there that you know, it sticks

1345
01:14:48.039 --> 01:14:50.560
<v Speaker 1>with you and it comes up in unexpected ways. That's

1346
01:14:50.560 --> 01:14:52.560
<v Speaker 1>the thing about your shadow is you only get to

1347
01:14:52.600 --> 01:14:54.960
<v Speaker 1>see what's in the shadow when the light happens to

1348
01:14:55.359 --> 01:15:00.199
<v Speaker 1>catch it. And so you know, if you if you

1349
01:15:00.239 --> 01:15:01.760
<v Speaker 1>go out of your way to try to shine that

1350
01:15:01.880 --> 01:15:04.920
<v Speaker 1>light on all these different aspects of yourself, you're going

1351
01:15:04.960 --> 01:15:06.840
<v Speaker 1>to have a better shot at figuring out, oh wait,

1352
01:15:06.880 --> 01:15:10.199
<v Speaker 1>that's that's there and still having some effect on me,

1353
01:15:10.439 --> 01:15:13.119
<v Speaker 1>what do I need to do with that? Instead of

1354
01:15:14.439 --> 01:15:16.760
<v Speaker 1>forgetting about it and just letting it continue to affect

1355
01:15:16.800 --> 01:15:18.399
<v Speaker 1>you without even being aware of it.

1356
01:15:21.720 --> 01:15:25.560
<v Speaker 4>I had I had a quick I guess question. So

1357
01:15:25.760 --> 01:15:29.840
<v Speaker 4>you're you know, looking over at some of the orders

1358
01:15:29.840 --> 01:15:31.960
<v Speaker 4>that you're involved with and then kind of reading through

1359
01:15:31.960 --> 01:15:34.479
<v Speaker 4>the little synops of the book. It seems like there's

1360
01:15:34.560 --> 01:15:38.319
<v Speaker 4>a huge emphasis in math. Writer or mathematics, so to

1361
01:15:38.359 --> 01:15:42.479
<v Speaker 4>speak right and then your book talks about language, and

1362
01:15:42.840 --> 01:15:46.479
<v Speaker 4>to me listening to you right now, the only thing

1363
01:15:46.520 --> 01:15:49.960
<v Speaker 4>I keep thinking is, you know, going from potential energy

1364
01:15:50.039 --> 01:15:53.880
<v Speaker 4>to kinetic energy, and that when you see words or

1365
01:15:53.920 --> 01:15:58.560
<v Speaker 4>you write words down, you're either harnessing a sound frequency

1366
01:15:58.680 --> 01:16:01.960
<v Speaker 4>into form or you're taking your pen and you are

1367
01:16:02.399 --> 01:16:05.680
<v Speaker 4>shaping light. You know, in the you know, the outline

1368
01:16:05.720 --> 01:16:08.960
<v Speaker 4>of the actual word. Would you say that magic is

1369
01:16:09.000 --> 01:16:13.840
<v Speaker 4>an attempt to bring back alpha numerical systems to where

1370
01:16:14.079 --> 01:16:19.199
<v Speaker 4>both words and numbers unite and give it back its

1371
01:16:19.199 --> 01:16:21.359
<v Speaker 4>own power before it was separated. I think it was

1372
01:16:21.359 --> 01:16:25.319
<v Speaker 4>like in the eleven hundreds or so.

1373
01:16:25.319 --> 01:16:27.319
<v Speaker 1>So to avoid scaring your readers, the math is all

1374
01:16:27.359 --> 01:16:29.439
<v Speaker 1>in the first book, so you don't have to worry

1375
01:16:29.439 --> 01:16:32.479
<v Speaker 1>about running into math. You'd run into semiotics instead, which

1376
01:16:32.560 --> 01:16:37.840
<v Speaker 1>is its own candle worms. But you bring up very

1377
01:16:37.840 --> 01:16:39.960
<v Speaker 1>interesting point. I think I think there's definitely something to that,

1378
01:16:40.920 --> 01:16:51.279
<v Speaker 1>because math it depends on where someone falls on the

1379
01:16:51.359 --> 01:16:55.239
<v Speaker 1>independent existence of math, existence of mathematics some people. Some

1380
01:16:55.239 --> 01:16:58.720
<v Speaker 1>people say that in a very platonic sense, that your

1381
01:16:58.760 --> 01:17:03.159
<v Speaker 1>math math is has its own independent existence and we're

1382
01:17:03.199 --> 01:17:07.119
<v Speaker 1>just discovering what that is. Other people look at it

1383
01:17:07.119 --> 01:17:11.520
<v Speaker 1>from the respective that maybe we are we're using math

1384
01:17:11.560 --> 01:17:13.880
<v Speaker 1>as a way to relate to the universe in a

1385
01:17:13.880 --> 01:17:17.880
<v Speaker 1>way that that's our way of expressing the order that

1386
01:17:17.920 --> 01:17:24.600
<v Speaker 1>we perceive in the universe. I probably fall somewhere in

1387
01:17:24.680 --> 01:17:27.479
<v Speaker 1>the middle of those, maybe some aspects of both of them.

1388
01:17:27.600 --> 01:17:30.680
<v Speaker 1>But you could think of mathematics like a language. It's

1389
01:17:30.720 --> 01:17:33.800
<v Speaker 1>a it's I mean, this is exactly the one of

1390
01:17:33.840 --> 01:17:37.199
<v Speaker 1>the ways that people like Galileo, who coined the term

1391
01:17:37.279 --> 01:17:41.000
<v Speaker 1>the Book of Nature, conceptualized it that basically mathematics is

1392
01:17:41.039 --> 01:17:43.119
<v Speaker 1>one of the ways that Nature is speaking to us

1393
01:17:43.159 --> 01:17:47.239
<v Speaker 1>and allowing us to read what is within nature is

1394
01:17:47.279 --> 01:17:50.520
<v Speaker 1>something that you know, he was despite his persecution by

1395
01:17:50.560 --> 01:17:52.960
<v Speaker 1>the Church, he was a very religious man too. He

1396
01:17:53.000 --> 01:17:55.439
<v Speaker 1>would have seen it as that basically God is revealing

1397
01:17:55.520 --> 01:18:01.680
<v Speaker 1>the universe to us through math. Words are much the

1398
01:18:02.000 --> 01:18:06.439
<v Speaker 1>same way now the Kench's words, at least the words

1399
01:18:06.479 --> 01:18:09.279
<v Speaker 1>that we use are are a human invention, and you

1400
01:18:09.319 --> 01:18:12.920
<v Speaker 1>know they're they're a byproduct of the types of sounds

1401
01:18:12.920 --> 01:18:18.359
<v Speaker 1>that the human vocal apparatus can can create. There are

1402
01:18:19.920 --> 01:18:21.640
<v Speaker 1>you know, there are sounds that other animals can create

1403
01:18:21.680 --> 01:18:26.720
<v Speaker 1>that we cannot because they have differently shaped vocal tracts

1404
01:18:26.720 --> 01:18:29.399
<v Speaker 1>in a sense, and so there are always these kind

1405
01:18:29.399 --> 01:18:31.760
<v Speaker 1>of artificial constraining factors of what we can do with words.

1406
01:18:32.840 --> 01:18:35.760
<v Speaker 1>But when you get beyond you know, the particular arrangement

1407
01:18:35.800 --> 01:18:38.960
<v Speaker 1>of sounds in a given language, to what are these

1408
01:18:39.000 --> 01:18:41.079
<v Speaker 1>words really getting at? What are they trying to express?

1409
01:18:41.560 --> 01:18:46.279
<v Speaker 1>So it's easy, it's really easy to to say this

1410
01:18:46.319 --> 01:18:49.800
<v Speaker 1>thing is called a book, or in German, it's possible,

1411
01:18:50.439 --> 01:18:53.239
<v Speaker 1>et cetera. You can whip out the name in a

1412
01:18:53.399 --> 01:18:59.880
<v Speaker 1>in a Agelian languages, it's a different thing to point

1413
01:19:00.600 --> 01:19:03.039
<v Speaker 1>when I say that that I that I'm sad right now,

1414
01:19:03.560 --> 01:19:04.439
<v Speaker 1>what is that pointing to?

1415
01:19:04.880 --> 01:19:05.039
<v Speaker 3>You know?

1416
01:19:05.119 --> 01:19:07.920
<v Speaker 1>You could point to, well, maybe you have a certain

1417
01:19:07.960 --> 01:19:12.039
<v Speaker 1>look on your face, okay, or maybe it's manifesting your

1418
01:19:12.119 --> 01:19:15.319
<v Speaker 1>behavior in some other ways. But maybe maybe I'm looking

1419
01:19:15.399 --> 01:19:17.000
<v Speaker 1>the same way as I would look up I was happy,

1420
01:19:17.319 --> 01:19:19.319
<v Speaker 1>but I just say that I'm feeling sad. Now you

1421
01:19:19.359 --> 01:19:21.119
<v Speaker 1>can't really point to what is it? What is it

1422
01:19:21.159 --> 01:19:23.399
<v Speaker 1>getting at? So there's this difficulty in how do you

1423
01:19:23.479 --> 01:19:27.359
<v Speaker 1>convey an internal state, And that's part of the difficulty

1424
01:19:27.399 --> 01:19:29.680
<v Speaker 1>of words. It's part of the imprecision of words. The

1425
01:19:29.720 --> 01:19:32.760
<v Speaker 1>idea that we can never kind of fully explain what's

1426
01:19:32.760 --> 01:19:37.119
<v Speaker 1>going on inside. And so that's that's a different that's

1427
01:19:37.119 --> 01:19:40.399
<v Speaker 1>a bit different way of interacting than mathematics is because

1428
01:19:40.960 --> 01:19:43.920
<v Speaker 1>I can I can show you what two things looks like,

1429
01:19:43.960 --> 01:19:45.920
<v Speaker 1>and I can put three things next to them, and

1430
01:19:45.960 --> 01:19:48.079
<v Speaker 1>I can now show you that two plus three equals five.

1431
01:19:48.479 --> 01:19:53.039
<v Speaker 1>I can. You can demonstrate not all of math, but

1432
01:19:53.039 --> 01:19:55.600
<v Speaker 1>you can demonstrate lots of math by illustration, by by

1433
01:19:55.680 --> 01:19:58.359
<v Speaker 1>by showing you can concretize it to say, oh, well,

1434
01:19:58.399 --> 01:20:00.239
<v Speaker 1>this is what that means. I mean you can get

1435
01:20:00.279 --> 01:20:02.159
<v Speaker 1>into parts of math that you can't quite show, like

1436
01:20:02.760 --> 01:20:06.800
<v Speaker 1>so called imaginary numbers or irrational fractions right that you know,

1437
01:20:06.800 --> 01:20:09.800
<v Speaker 1>you can't really show point to what they are in

1438
01:20:09.840 --> 01:20:13.560
<v Speaker 1>a way that someone can see. But certainly the basics

1439
01:20:13.600 --> 01:20:19.000
<v Speaker 1>of math that you can. Yeah, language has that curious

1440
01:20:19.039 --> 01:20:21.359
<v Speaker 1>thing that you there's a limit to what you can

1441
01:20:21.800 --> 01:20:24.359
<v Speaker 1>what you can convey about internal states through it. And

1442
01:20:24.399 --> 01:20:25.920
<v Speaker 1>the best we can do is if I say that

1443
01:20:25.960 --> 01:20:28.359
<v Speaker 1>I feel he sad right now, you can maybe imagine

1444
01:20:28.359 --> 01:20:30.479
<v Speaker 1>what it's like for you to feel sad and kind

1445
01:20:30.520 --> 01:20:33.640
<v Speaker 1>of think about it's like, well, okay, I'm a human,

1446
01:20:34.640 --> 01:20:37.800
<v Speaker 1>he's a human. We both speak the same language, so

1447
01:20:37.840 --> 01:20:42.680
<v Speaker 1>we have certain ways we contextualize the universe. You know,

1448
01:20:43.079 --> 01:20:44.800
<v Speaker 1>maybe we both live in the same place or grew

1449
01:20:44.880 --> 01:20:46.159
<v Speaker 1>up in the same place, we have that kind of

1450
01:20:46.159 --> 01:20:48.159
<v Speaker 1>cultural background, those things like that, and you can kind

1451
01:20:48.159 --> 01:20:50.119
<v Speaker 1>of inferves like, well, Okay, I kind of get what

1452
01:20:50.199 --> 01:20:51.520
<v Speaker 1>sad means. I know what that would mean if I

1453
01:20:51.560 --> 01:20:55.840
<v Speaker 1>said it. But it's still imperfect, because there's always going

1454
01:20:55.880 --> 01:20:57.439
<v Speaker 1>to be shades of meaning that belong to each of

1455
01:20:57.479 --> 01:21:00.640
<v Speaker 1>us individually that we can never fully explain to someone else.

1456
01:21:03.079 --> 01:21:06.079
<v Speaker 1>Back to Wittckenstein, one of his other ideas is this

1457
01:21:06.119 --> 01:21:08.720
<v Speaker 1>wonderful thought experiment called the beetle in the box, The

1458
01:21:08.760 --> 01:21:11.920
<v Speaker 1>idea that, okay, everybody has a box and no one

1459
01:21:11.920 --> 01:21:14.239
<v Speaker 1>else can ever see inside what's your what's in your box?

1460
01:21:14.520 --> 01:21:16.840
<v Speaker 1>But everybody calls the thing in their box a beetle.

1461
01:21:18.880 --> 01:21:20.479
<v Speaker 1>The catch is, how can you know if what I

1462
01:21:20.520 --> 01:21:21.800
<v Speaker 1>call a beatle is the same thing as what you

1463
01:21:21.840 --> 01:21:24.560
<v Speaker 1>call a beatle? We can ever can ever see inside it.

1464
01:21:26.439 --> 01:21:28.880
<v Speaker 1>You can try to describe it. You can make say, oh,

1465
01:21:29.199 --> 01:21:31.039
<v Speaker 1>you know, it's you know, it's about this big, and

1466
01:21:31.039 --> 01:21:33.079
<v Speaker 1>it's got this many legs, and it's got wings and

1467
01:21:33.079 --> 01:21:38.319
<v Speaker 1>it looks like this and whatever. But those are just

1468
01:21:38.359 --> 01:21:40.159
<v Speaker 1>words that you're saying. You could be making that up.

1469
01:21:40.920 --> 01:21:44.720
<v Speaker 1>Maybe you're a beetle. You know, that was completely different,

1470
01:21:44.760 --> 01:21:46.159
<v Speaker 1>and you're just saying what you think I want to

1471
01:21:46.159 --> 01:21:49.039
<v Speaker 1>hear about what a beatle looks like and what we're

1472
01:21:49.359 --> 01:21:51.319
<v Speaker 1>The reason he brings that thought experiment up is that

1473
01:21:51.399 --> 01:21:54.960
<v Speaker 1>it highlights this difficulty. We haven't conveyed internal states. If

1474
01:21:55.039 --> 01:21:56.640
<v Speaker 1>you if you now take it in the more abstracting

1475
01:21:56.640 --> 01:21:58.720
<v Speaker 1>and gay, well, what if that what's in the boxes

1476
01:21:58.800 --> 01:22:03.640
<v Speaker 1>the mind? Your mind? You have the same difficulty of limited,

1477
01:22:03.880 --> 01:22:06.399
<v Speaker 1>ultimately limited to vocabulary and what you can explain about

1478
01:22:06.399 --> 01:22:11.319
<v Speaker 1>what is in your mind to let someone else understand it.

1479
01:22:11.439 --> 01:22:13.439
<v Speaker 1>And even then you can only talk about specific things.

1480
01:22:13.560 --> 01:22:16.520
<v Speaker 1>I can't tell you everything that's in my mind. I

1481
01:22:16.520 --> 01:22:19.279
<v Speaker 1>can't even tell myself everything that's in my mind. You know.

1482
01:22:19.439 --> 01:22:22.079
<v Speaker 1>HP left Craft famously said that the you know, it's

1483
01:22:22.079 --> 01:22:24.000
<v Speaker 1>a good thing that we can paraphrasing that, it's a

1484
01:22:24.039 --> 01:22:26.720
<v Speaker 1>good thing. We can't correlate the entire contents of our mind,

1485
01:22:26.760 --> 01:22:30.479
<v Speaker 1>otherwise we would just go mad. Right, It's this same

1486
01:22:30.479 --> 01:22:33.520
<v Speaker 1>sort of problem. So there's always a limitation of what

1487
01:22:33.600 --> 01:22:37.079
<v Speaker 1>we can convey, whether it's mathematics or whether it's language.

1488
01:22:37.600 --> 01:22:41.800
<v Speaker 1>But but I think what is important is that we try.

1489
01:22:41.880 --> 01:22:44.640
<v Speaker 1>The trying part is what counts, because if you don't

1490
01:22:44.520 --> 01:22:48.640
<v Speaker 1>or if you never communicate what is with you internally,

1491
01:22:50.520 --> 01:22:53.760
<v Speaker 1>it still belongs to you, but you're limiting your ability

1492
01:22:53.800 --> 01:22:58.000
<v Speaker 1>to see it reflected in someone else, just to see

1493
01:22:58.159 --> 01:23:01.439
<v Speaker 1>what it looks like from the outside, because that's the

1494
01:23:01.479 --> 01:23:03.640
<v Speaker 1>one thing we can't easily do, is see what the

1495
01:23:03.680 --> 01:23:07.960
<v Speaker 1>contents of our own understanding experience looks like from the outside,

1496
01:23:08.319 --> 01:23:11.800
<v Speaker 1>because we see it from the inside, because that's you know, inside,

1497
01:23:12.000 --> 01:23:14.920
<v Speaker 1>because that's where it is. But when you talk about

1498
01:23:14.920 --> 01:23:17.439
<v Speaker 1>it with other people, when you when you see how

1499
01:23:17.479 --> 01:23:19.560
<v Speaker 1>well you can communicate to them, you see then reflect

1500
01:23:19.600 --> 01:23:22.399
<v Speaker 1>your ideas back to you. You see their perspective on

1501
01:23:22.960 --> 01:23:25.399
<v Speaker 1>the changes in your behaviors and attitudes that seem to

1502
01:23:25.439 --> 01:23:29.199
<v Speaker 1>result from your interstate. That helps you to get a

1503
01:23:30.000 --> 01:23:32.520
<v Speaker 1>perspective on it that you can not get otherwise. You

1504
01:23:32.560 --> 01:23:36.079
<v Speaker 1>still have to decide what it means, but you can

1505
01:23:36.119 --> 01:23:38.319
<v Speaker 1>now when you're deciding what it means, you can now

1506
01:23:38.359 --> 01:23:41.600
<v Speaker 1>account for this additional information that you've gained from someone else.

1507
01:23:42.800 --> 01:23:44.520
<v Speaker 1>And the one we can get that is to communicate

1508
01:23:44.560 --> 01:23:48.560
<v Speaker 1>with them.

1509
01:23:48.640 --> 01:23:53.520
<v Speaker 8>It's it's fascinating that a Kino was inspired by Lovecraft

1510
01:23:53.560 --> 01:23:55.880
<v Speaker 8>to conceptualize that set of For.

1511
01:23:59.239 --> 01:24:00.039
<v Speaker 2>What else.

1512
01:24:01.439 --> 01:24:03.960
<v Speaker 8>Did he kind of get inspired from? And is that

1513
01:24:04.079 --> 01:24:07.760
<v Speaker 8>the term? Is that where the term love crafting and

1514
01:24:08.000 --> 01:24:12.319
<v Speaker 8>magic comes from? I believe I've seen that term before.

1515
01:24:12.920 --> 01:24:14.079
<v Speaker 8>Can break that down.

1516
01:24:14.600 --> 01:24:17.239
<v Speaker 1>Yeah, he was the first one to write about that,

1517
01:24:17.840 --> 01:24:22.319
<v Speaker 1>at least in any public sense. Kenneth Grant's The Magical

1518
01:24:22.319 --> 01:24:25.359
<v Speaker 1>Revival did come out in the same year. However, as

1519
01:24:25.399 --> 01:24:30.279
<v Speaker 1>it happens, Grant's initial exposure to not exposure to Lovecraft,

1520
01:24:30.319 --> 01:24:32.920
<v Speaker 1>but his the seed of idea that he ran with

1521
01:24:32.960 --> 01:24:35.640
<v Speaker 1>in a different way to incorporate Lovecraft into his magic

1522
01:24:35.680 --> 01:24:39.760
<v Speaker 1>actually ultimately came from a Quino. There was one of

1523
01:24:41.079 --> 01:24:45.479
<v Speaker 1>Grant's main correspondence at the time was a man named

1524
01:24:45.640 --> 01:24:50.920
<v Speaker 1>Michael Bertio. It was very it was very prominent figure

1525
01:24:50.960 --> 01:24:54.920
<v Speaker 1>in magic at the time. Has ideas kind of continue

1526
01:24:54.920 --> 01:24:57.640
<v Speaker 1>to pop up as pretty interesting ways and weird and

1527
01:24:57.680 --> 01:25:04.199
<v Speaker 1>strange places, and there was there was another person in

1528
01:25:04.199 --> 01:25:07.399
<v Speaker 1>the Church of Satan at the time that Aquino knew well,

1529
01:25:08.439 --> 01:25:13.720
<v Speaker 1>who also knew Bartio and was basically shared some of

1530
01:25:13.720 --> 01:25:15.520
<v Speaker 1>those ideas with him, and he passed on to Grand,

1531
01:25:15.520 --> 01:25:17.239
<v Speaker 1>and Grand's like, oh, that's interesting. I should maybe try

1532
01:25:17.239 --> 01:25:19.039
<v Speaker 1>to write some about some of that in my book too.

1533
01:25:19.760 --> 01:25:23.960
<v Speaker 1>The original idea to create rituals out of it, Leavey

1534
01:25:24.159 --> 01:25:27.279
<v Speaker 1>had suggested that the different grottos, which were the individual

1535
01:25:27.319 --> 01:25:30.119
<v Speaker 1>groups in the Church of Satan, look towards other mythologies,

1536
01:25:30.119 --> 01:25:33.199
<v Speaker 1>both real and imagined, to draw material from, because it

1537
01:25:33.319 --> 01:25:34.800
<v Speaker 1>kind of gets kind of old if it's all just

1538
01:25:34.880 --> 01:25:37.920
<v Speaker 1>black masses all the time, right, So you're pulling from

1539
01:25:37.920 --> 01:25:39.119
<v Speaker 1>a different other things. And if you read through the

1540
01:25:39.119 --> 01:25:42.479
<v Speaker 1>Satanic rituals, he's pulling from the Yazid's, he's pulling from

1541
01:25:42.840 --> 01:25:49.920
<v Speaker 1>Germanic magic, he's pulling from you know, Russian supposed Russian magic,

1542
01:25:50.000 --> 01:25:52.000
<v Speaker 1>et cetera. Lots of different sources try to kind of

1543
01:25:52.000 --> 01:25:53.920
<v Speaker 1>spice things up to make it more interesting and give

1544
01:25:54.279 --> 01:25:58.079
<v Speaker 1>different perspectives and things to draw from. LaVey was pretty

1545
01:25:58.079 --> 01:26:02.199
<v Speaker 1>well connected with the whole writers and artists and so

1546
01:26:02.279 --> 01:26:04.039
<v Speaker 1>forth in San Francisco at the time, and one of

1547
01:26:05.079 --> 01:26:08.039
<v Speaker 1>one of the frequent attendees at his kind of Friday

1548
01:26:08.119 --> 01:26:11.880
<v Speaker 1>night events was a science fiction writer named Mike Resnick.

1549
01:26:12.520 --> 01:26:15.399
<v Speaker 1>And he was talking with Resnick about this one night,

1550
01:26:15.520 --> 01:26:20.479
<v Speaker 1>and uh was lamenting that he was having troubled coming

1551
01:26:20.840 --> 01:26:23.560
<v Speaker 1>different things to apply. You to bring into some of

1552
01:26:23.600 --> 01:26:27.720
<v Speaker 1>these magical ideas, and Resnick suggested, like, you have an

1553
01:26:27.840 --> 01:26:31.199
<v Speaker 1>entire shelf full of all this weird tales stuff, Lovecraft, Kark,

1554
01:26:31.239 --> 01:26:35.600
<v Speaker 1>Ashton Smith, Robertie, Howard Frank beloped out belong, et cetera.

1555
01:26:35.880 --> 01:26:38.159
<v Speaker 1>Why didn't you bring in some of that. These guys

1556
01:26:38.159 --> 01:26:41.000
<v Speaker 1>talk about magic, they have weird ideas, see what you

1557
01:26:41.039 --> 01:26:43.399
<v Speaker 1>can do with that, and that kind of that was

1558
01:26:43.439 --> 01:26:47.880
<v Speaker 1>what prompted him to ask a Quino to contribute. He

1559
01:26:47.960 --> 01:26:51.279
<v Speaker 1>was originally expecting something with Cthulho. Actually, so the first

1560
01:26:51.279 --> 01:26:54.399
<v Speaker 1>thing that the queena wrote was the Ceremony of the

1561
01:26:54.479 --> 01:26:57.399
<v Speaker 1>Night angles. Anton looked at this and thought this is

1562
01:26:57.439 --> 01:26:59.439
<v Speaker 1>really interesting. But I kind of thought you would just

1563
01:26:59.439 --> 01:27:02.039
<v Speaker 1>do Cathule. And he's like, oh, I'll do that one too,

1564
01:27:02.079 --> 01:27:04.319
<v Speaker 1>So he made wrote the call to Cthulia was a

1565
01:27:04.319 --> 01:27:08.279
<v Speaker 1>different h one, which that that's pretty interesting in its

1566
01:27:08.279 --> 01:27:12.000
<v Speaker 1>own right, I think, because that's looking at you know,

1567
01:27:12.039 --> 01:27:14.359
<v Speaker 1>in the story of the Call of Cathilla by Glovecraft.

1568
01:27:17.479 --> 01:27:19.640
<v Speaker 1>You know, Cathulla is the high priest of the Great

1569
01:27:19.640 --> 01:27:22.520
<v Speaker 1>Old Ones. He's you know, in the sunken city of Riyala,

1570
01:27:23.039 --> 01:27:26.960
<v Speaker 1>which was based on a real place called uh Non Madal.

1571
01:27:27.760 --> 01:27:30.079
<v Speaker 1>There's actually actual ruins. You can go visit a friend

1572
01:27:30.079 --> 01:27:33.720
<v Speaker 1>of mine the temple actually visit them, probably twenty years

1573
01:27:33.720 --> 01:27:36.319
<v Speaker 1>ago this point, even camped out overnight in in the

1574
01:27:36.319 --> 01:27:43.319
<v Speaker 1>inspiration for Riyala. But Cathula was wating, waiting for the

1575
01:27:43.359 --> 01:27:46.039
<v Speaker 1>stars to come right again, you know, for actual procession

1576
01:27:46.119 --> 01:27:48.039
<v Speaker 1>to bring the stars back to where they were at

1577
01:27:48.039 --> 01:27:50.800
<v Speaker 1>a certain point of time, which point Rylea and cthulill

1578
01:27:50.920 --> 01:27:53.880
<v Speaker 1>rise from the sea. The problem is Cathulla came of

1579
01:27:54.039 --> 01:27:57.720
<v Speaker 1>the wrong time because what causes Rila to rise is

1580
01:27:57.720 --> 01:28:02.319
<v Speaker 1>an earthquake, you know, unforse seeing unexpected turn of events.

1581
01:28:04.760 --> 01:28:07.399
<v Speaker 1>But what Cuthulu was sort of bringing back in a

1582
01:28:07.439 --> 01:28:10.520
<v Speaker 1>conceptual sense, at least the way Aquino saw it, is

1583
01:28:10.600 --> 01:28:14.520
<v Speaker 1>this idea of our our deep roots in the archaic past,

1584
01:28:14.880 --> 01:28:17.000
<v Speaker 1>you know, the idea of ancient cultures that that still

1585
01:28:17.039 --> 01:28:20.680
<v Speaker 1>have ideas that permeate today even though we don't think

1586
01:28:20.680 --> 01:28:22.880
<v Speaker 1>of them as such. And there and there are real

1587
01:28:22.880 --> 01:28:26.960
<v Speaker 1>examples of that, like their ideas from Sumerian culture that

1588
01:28:27.000 --> 01:28:32.119
<v Speaker 1>are that are present in the the Abrahamic religions that

1589
01:28:32.520 --> 01:28:37.039
<v Speaker 1>they as the different city states in Mesopotamia assumed power

1590
01:28:37.079 --> 01:28:40.479
<v Speaker 1>at different times. Sumerian, even though it had died out

1591
01:28:40.520 --> 01:28:44.039
<v Speaker 1>as a as a language, was retained as a liturgical language.

1592
01:28:44.039 --> 01:28:47.520
<v Speaker 1>They would write magical rituals in it, and some of

1593
01:28:47.520 --> 01:28:51.880
<v Speaker 1>the ideas continue to seep in. And then you have

1594
01:28:52.000 --> 01:28:57.479
<v Speaker 1>the period of the the Babylonian captivity where the Hebrews

1595
01:28:57.560 --> 01:28:59.239
<v Speaker 1>were exposed to some of these ideas as well. And

1596
01:28:59.279 --> 01:29:01.600
<v Speaker 1>there there are and this is like academic work that

1597
01:29:01.720 --> 01:29:04.119
<v Speaker 1>shows like some of these ideas that have these roots.

1598
01:29:04.880 --> 01:29:11.479
<v Speaker 1>It's not just speculating. And so the question that Aquino,

1599
01:29:11.560 --> 01:29:13.680
<v Speaker 1>I think was trying to answer with his ritual of

1600
01:29:13.720 --> 01:29:17.439
<v Speaker 1>the call to Cthulhu, different from the story call of Cthulhu,

1601
01:29:18.359 --> 01:29:21.840
<v Speaker 1>is that what happens if we deliberately invoke that this

1602
01:29:22.079 --> 01:29:27.720
<v Speaker 1>archaic sense of self and sense of what he at

1603
01:29:27.720 --> 01:29:30.520
<v Speaker 1>the time would have called the black flame, which is

1604
01:29:30.560 --> 01:29:32.640
<v Speaker 1>a term that still was used within the temple as well.

1605
01:29:32.640 --> 01:29:37.359
<v Speaker 1>The black flame is the individual sense of self awareness

1606
01:29:37.880 --> 01:29:41.479
<v Speaker 1>that's innate within each of us. So what happens if

1607
01:29:41.479 --> 01:29:45.479
<v Speaker 1>you call up Cthulhu deliberately and then ask Cathula to

1608
01:29:45.520 --> 01:29:48.960
<v Speaker 1>teach what he has to teach, and then you know,

1609
01:29:49.039 --> 01:29:51.960
<v Speaker 1>being black magicians not being afraid of Cthulhu like people

1610
01:29:51.960 --> 01:29:57.039
<v Speaker 1>were in the story, and then you know, taking that

1611
01:29:57.119 --> 01:30:02.600
<v Speaker 1>knowledge and then using that to uh explore new vestas

1612
01:30:02.600 --> 01:30:08.560
<v Speaker 1>that were not available to you before. Now probably pretty

1613
01:30:08.560 --> 01:30:11.319
<v Speaker 1>far from the original question. So what's so very interesting?

1614
01:30:13.520 --> 01:30:15.800
<v Speaker 8>Well, I can't help thinking something of what you remarked

1615
01:30:15.800 --> 01:30:20.479
<v Speaker 8>before about how Lovecraft was, you know, a East Coast

1616
01:30:20.840 --> 01:30:23.359
<v Speaker 8>materialist of many years ago.

1617
01:30:23.800 --> 01:30:25.399
<v Speaker 2>But it sure does.

1618
01:30:25.279 --> 01:30:29.119
<v Speaker 8>Seem like he was tapped in to, you know, having

1619
01:30:29.279 --> 01:30:34.000
<v Speaker 8>this kind of receptive mind for all these ideas.

1620
01:30:33.760 --> 01:30:35.199
<v Speaker 2>That he that he put out there.

1621
01:30:35.800 --> 01:30:39.520
<v Speaker 1>Right. Grant kind of harps on that point quite a bit,

1622
01:30:40.279 --> 01:30:43.840
<v Speaker 1>the idea that both Lovecraft and Crowley were both tuning

1623
01:30:43.880 --> 01:30:47.520
<v Speaker 1>into the same cosmic radio source. I don't go quite

1624
01:30:47.520 --> 01:30:50.560
<v Speaker 1>that far, but I what I do recognize within Lovecraft,

1625
01:30:50.560 --> 01:30:55.239
<v Speaker 1>and this is hugely important, is that for the thing is,

1626
01:30:55.239 --> 01:30:59.319
<v Speaker 1>Lovecraft didn't right for money. He was like desperately poor

1627
01:30:59.359 --> 01:31:02.039
<v Speaker 1>throughoutretty much most of his adult life. He had a

1628
01:31:02.039 --> 01:31:05.399
<v Speaker 1>small inheritance, his family had once had money, but was

1629
01:31:05.439 --> 01:31:08.279
<v Speaker 1>already very much on the lane by the time he

1630
01:31:08.359 --> 01:31:14.720
<v Speaker 1>was born. And he he had a bit of disdain

1631
01:31:14.800 --> 01:31:16.840
<v Speaker 1>for his stories. You know, he kind of referred to

1632
01:31:16.840 --> 01:31:19.680
<v Speaker 1>them in disarriging ways at times, but he obviously cared

1633
01:31:19.680 --> 01:31:21.399
<v Speaker 1>about them too, because he went to great links to

1634
01:31:21.439 --> 01:31:24.479
<v Speaker 1>craft them. He went to great links to record these

1635
01:31:24.479 --> 01:31:27.520
<v Speaker 1>ideas and more importantly, to record his dreams. He was

1636
01:31:27.640 --> 01:31:30.680
<v Speaker 1>very much a dreamer. Whenever you see the character Raymond

1637
01:31:30.880 --> 01:31:34.600
<v Speaker 1>uh sorry, Randolph Carter in Lovecraft stories, that is Lovecraft

1638
01:31:34.640 --> 01:31:36.960
<v Speaker 1>popping up in the story. So things like the silver Key,

1639
01:31:37.840 --> 01:31:41.000
<v Speaker 1>the statement of Randolph Carter dream, pust of Oona and Cada,

1640
01:31:41.000 --> 01:31:46.319
<v Speaker 1>et cetera, Carter is Lovecraft. Carter is a dreamer. Carter, Carter.

1641
01:31:46.840 --> 01:31:51.840
<v Speaker 1>You know once uh, you came from money, was lost

1642
01:31:51.880 --> 01:31:54.920
<v Speaker 1>at and then eventually came into money again, et cetera.

1643
01:31:57.159 --> 01:32:00.439
<v Speaker 1>And Lovecraft was very meticulous out recording his dreams. He

1644
01:32:00.439 --> 01:32:04.640
<v Speaker 1>he was a extremely prolific letter writer. Thousands and thousands

1645
01:32:04.640 --> 01:32:07.680
<v Speaker 1>of letters the Lovecraft wrote that are actually collected in

1646
01:32:07.720 --> 01:32:12.159
<v Speaker 1>a few collections you can you can buy, and in

1647
01:32:12.159 --> 01:32:15.800
<v Speaker 1>many of those he's describing dreams. Some stories, like the

1648
01:32:15.840 --> 01:32:19.399
<v Speaker 1>story called Nila Hotep originally was a dream. We have

1649
01:32:19.800 --> 01:32:21.920
<v Speaker 1>the letter he wrote to I forget who he wrote

1650
01:32:21.960 --> 01:32:25.800
<v Speaker 1>it to, where he described the dream, and his description

1651
01:32:25.840 --> 01:32:28.359
<v Speaker 1>of the original letter for the dream five years later

1652
01:32:28.720 --> 01:32:31.199
<v Speaker 1>was literally the first page and a half of the story.

1653
01:32:31.479 --> 01:32:34.319
<v Speaker 1>So he's literally like some of his stories are literally

1654
01:32:34.359 --> 01:32:36.800
<v Speaker 1>recording a dream that he had and then taking it

1655
01:32:36.920 --> 01:32:41.840
<v Speaker 1>in new directions. So he was He very much believed

1656
01:32:41.840 --> 01:32:46.439
<v Speaker 1>in the value in the originality of his dreams, even

1657
01:32:46.680 --> 01:32:51.199
<v Speaker 1>if he regarded them as having ultimately a material, material cause.

1658
01:32:53.560 --> 01:32:59.640
<v Speaker 1>And as Michael Aquino pointed out quite astutely, I think

1659
01:32:59.680 --> 01:33:03.359
<v Speaker 1>it's probably better than someone Lovecraft was not actually exposed

1660
01:33:03.399 --> 01:33:06.159
<v Speaker 1>to real magic, because that could have gone quite a

1661
01:33:06.159 --> 01:33:10.279
<v Speaker 1>bit differently. Lovecraft had a pretty poor opinion of the

1662
01:33:10.279 --> 01:33:12.279
<v Speaker 1>magicians of the day. I mean, he was aware of Croley.

1663
01:33:12.319 --> 01:33:15.760
<v Speaker 1>He wrote some pretty disparaiting things about Croley and a

1664
01:33:15.800 --> 01:33:19.119
<v Speaker 1>few others, but he had never really looked into things

1665
01:33:19.199 --> 01:33:22.560
<v Speaker 1>like the Greek magic papyri he had. He had not

1666
01:33:22.640 --> 01:33:25.119
<v Speaker 1>looked at a deep way into John D. He references

1667
01:33:25.159 --> 01:33:26.680
<v Speaker 1>D in a couple of places. He never really looked

1668
01:33:26.680 --> 01:33:32.439
<v Speaker 1>into what D was doing, et cetera. I don't know

1669
01:33:32.520 --> 01:33:35.000
<v Speaker 1>if it was just because he wasn't interested to go

1670
01:33:35.039 --> 01:33:36.880
<v Speaker 1>deep on it, or if he's like, oh, that's BS,

1671
01:33:36.880 --> 01:33:39.760
<v Speaker 1>and why why look at that? Only to the extent

1672
01:33:39.800 --> 01:33:41.239
<v Speaker 1>that I can make a story out of it. I'm

1673
01:33:41.279 --> 01:33:47.640
<v Speaker 1>not really sure, but there was an essay that Don

1674
01:33:47.680 --> 01:33:50.199
<v Speaker 1>Webb wrote many years ago, which he was gracious enough

1675
01:33:50.199 --> 01:33:52.239
<v Speaker 1>to allow me to reprint as an appendix in the

1676
01:33:52.319 --> 01:33:57.800
<v Speaker 1>language as of Magic. That's called plainly why why magicians

1677
01:33:57.800 --> 01:34:03.760
<v Speaker 1>write fiction? And he looks at different people who were

1678
01:34:03.840 --> 01:34:10.840
<v Speaker 1>magicians W. B. Yates, Fritz liber Arthur Mockin, writers like

1679
01:34:10.880 --> 01:34:15.000
<v Speaker 1>that that wrote about magical ideas from the perspective of

1680
01:34:15.239 --> 01:34:18.119
<v Speaker 1>they were magicians. Yates was in the gold and Mackinto

1681
01:34:18.159 --> 01:34:21.560
<v Speaker 1>were in the Golden Dawn. Fritz liber Was was a Wigan,

1682
01:34:22.600 --> 01:34:27.680
<v Speaker 1>et cetera. But also he also writes about what magicians

1683
01:34:27.800 --> 01:34:32.000
<v Speaker 1>can pull from fictional work and to make it real

1684
01:34:32.319 --> 01:34:36.560
<v Speaker 1>within the context of the ritual chamber. Because again, remember

1685
01:34:36.640 --> 01:34:38.399
<v Speaker 1>at the very beginning of the conversation, I was talking

1686
01:34:38.399 --> 01:34:40.800
<v Speaker 1>about idea things that are real in the sense that

1687
01:34:40.840 --> 01:34:43.159
<v Speaker 1>they exist. You can talk about them, and you can

1688
01:34:43.279 --> 01:34:45.840
<v Speaker 1>conceive of them, you can describe them, but they're not

1689
01:34:45.880 --> 01:34:48.279
<v Speaker 1>actual yet because they don't actually have a reference in

1690
01:34:48.319 --> 01:34:50.840
<v Speaker 1>the world that you can you can point to. That's

1691
01:34:51.239 --> 01:34:53.680
<v Speaker 1>part of what magic ultimately is. It's taking those things

1692
01:34:53.680 --> 01:34:57.560
<v Speaker 1>that are that can become real in giving them some reality,

1693
01:34:58.680 --> 01:35:01.359
<v Speaker 1>and that's that's what are any writer is doing. It's

1694
01:35:01.359 --> 01:35:04.039
<v Speaker 1>what an artist is doing. They're taking things that that

1695
01:35:04.079 --> 01:35:06.680
<v Speaker 1>are they conceive of that they can they can conceive

1696
01:35:06.720 --> 01:35:09.680
<v Speaker 1>that this as a possibility, as a high persition that's

1697
01:35:09.720 --> 01:35:12.199
<v Speaker 1>not yet come into being, and they make it come

1698
01:35:12.199 --> 01:35:14.880
<v Speaker 1>into being somehow. They give it some material form so there,

1699
01:35:14.920 --> 01:35:18.000
<v Speaker 1>or some communicable form so that it can have an

1700
01:35:18.039 --> 01:35:19.800
<v Speaker 1>existence from the world, so it can have an effect,

1701
01:35:20.720 --> 01:35:22.560
<v Speaker 1>because if you keep it, if you only keep your

1702
01:35:22.640 --> 01:35:25.119
<v Speaker 1>conception inside, it can't have an effect outside of you.

1703
01:35:25.520 --> 01:35:27.640
<v Speaker 1>If you give it some form that can go forth

1704
01:35:27.680 --> 01:35:29.600
<v Speaker 1>out into the world beyond yourself, now it can have

1705
01:35:29.640 --> 01:35:30.479
<v Speaker 1>an effect.

1706
01:35:31.319 --> 01:35:35.359
<v Speaker 7>So in regard to your hopes with the book, as

1707
01:35:35.399 --> 01:35:38.680
<v Speaker 7>far as where you're going and the stream that you're following,

1708
01:35:39.119 --> 01:35:42.279
<v Speaker 7>what is the ultimate thing that you hope people are

1709
01:35:42.319 --> 01:35:45.640
<v Speaker 7>going to draw from your book?

1710
01:35:47.680 --> 01:35:53.479
<v Speaker 1>So Infernal Geometry focused a bit. There's a lot of

1711
01:35:53.520 --> 01:35:57.720
<v Speaker 1>theoretical and historical background stuff, but it also had some

1712
01:35:57.800 --> 01:36:01.600
<v Speaker 1>practical aspects to it. It showed ways examples of how

1713
01:36:01.640 --> 01:36:04.720
<v Speaker 1>you could create your own angle or workings and so forth.

1714
01:36:05.840 --> 01:36:12.239
<v Speaker 1>The Languages of Magic is more descriptive. What practical stuff

1715
01:36:12.279 --> 01:36:15.119
<v Speaker 1>is in there is left as an exercise to the reader.

1716
01:36:15.399 --> 01:36:18.239
<v Speaker 1>And that's not to say that that it's meant to

1717
01:36:18.279 --> 01:36:19.920
<v Speaker 1>be hard to get to. It's meant to be that

1718
01:36:20.000 --> 01:36:23.039
<v Speaker 1>there are so many, so many examples of existing magic,

1719
01:36:23.159 --> 01:36:26.119
<v Speaker 1>like the Greek magical high Eye things from the Non

1720
01:36:26.119 --> 01:36:30.359
<v Speaker 1>Commodity Library Runs. There's the entire chapter about runs different

1721
01:36:30.640 --> 01:36:37.880
<v Speaker 1>schools of magic, you know, Austin Spair, Inciduals, Crowley, the

1722
01:36:37.920 --> 01:36:41.720
<v Speaker 1>Temple of Set, Temple of Psychic Youth, et cetera. That

1723
01:36:42.359 --> 01:36:45.239
<v Speaker 1>there's lots of examples already in there, So it's just

1724
01:36:45.279 --> 01:36:48.279
<v Speaker 1>not giving you examples. That's giving existent examples and showing

1725
01:36:48.279 --> 01:36:50.520
<v Speaker 1>you a different way to think about them that you

1726
01:36:50.560 --> 01:36:55.760
<v Speaker 1>can then take forward to both to understand better how

1727
01:36:57.720 --> 01:37:01.560
<v Speaker 1>uh the magic that you already do works, have any

1728
01:37:01.600 --> 01:37:03.960
<v Speaker 1>perspective on how it works, and then take that forward

1729
01:37:03.960 --> 01:37:06.000
<v Speaker 1>to go, all right, well, what if I intentionally crafted

1730
01:37:06.000 --> 01:37:08.640
<v Speaker 1>it to work in this way? How can I make

1731
01:37:08.680 --> 01:37:10.399
<v Speaker 1>it or for in a more effective way?

1732
01:37:11.039 --> 01:37:11.239
<v Speaker 5>Right?

1733
01:37:12.479 --> 01:37:15.199
<v Speaker 1>I sort of jokingly described it to someone as it's

1734
01:37:15.720 --> 01:37:20.119
<v Speaker 1>it's either a book about language and semiotics disguises a

1735
01:37:20.119 --> 01:37:22.840
<v Speaker 1>book about magic, or it's a book about magic disguises

1736
01:37:22.840 --> 01:37:25.800
<v Speaker 1>a book about language and semiotics. Nice.

1737
01:37:26.960 --> 01:37:30.159
<v Speaker 7>I like that, Yeah, And I think Oh, sorry, I

1738
01:37:30.159 --> 01:37:32.199
<v Speaker 7>was going to say. I think as an artist as

1739
01:37:32.239 --> 01:37:37.479
<v Speaker 7>a writer kind of ultimately you you are working towards

1740
01:37:38.039 --> 01:37:42.560
<v Speaker 7>trying to It's a process that you that you're basically

1741
01:37:42.600 --> 01:37:46.000
<v Speaker 7>developing to be able to create. Is kind of what

1742
01:37:46.039 --> 01:37:46.640
<v Speaker 7>I'm getting at.

1743
01:37:46.720 --> 01:37:51.000
<v Speaker 1>Yeah, absolutely, absolutely, But that's a process. Yeah, that's the

1744
01:37:51.039 --> 01:37:51.760
<v Speaker 1>important part.

1745
01:37:52.560 --> 01:37:52.760
<v Speaker 2>Yeah.

1746
01:37:52.840 --> 01:37:54.640
<v Speaker 1>We think about as an artist like if you you

1747
01:37:54.640 --> 01:37:56.560
<v Speaker 1>get you get like a new tool to use in

1748
01:37:56.600 --> 01:38:00.520
<v Speaker 1>your art, or someone shows you a new technique. You're

1749
01:38:00.560 --> 01:38:03.600
<v Speaker 1>still you, You're still doing your art, but now you have

1750
01:38:03.720 --> 01:38:05.760
<v Speaker 1>something available to you that wasn't there before that you

1751
01:38:05.800 --> 01:38:08.479
<v Speaker 1>can now integrate with it. And you may it may

1752
01:38:08.520 --> 01:38:10.319
<v Speaker 1>not be immediately obvious to you how to use it

1753
01:38:10.479 --> 01:38:12.000
<v Speaker 1>or how to integrate it into the type of art

1754
01:38:12.000 --> 01:38:14.159
<v Speaker 1>that you do, but as you begin to work with it,

1755
01:38:14.199 --> 01:38:16.640
<v Speaker 1>you'll you'll start to see those connections, just start to undercover,

1756
01:38:16.880 --> 01:38:20.199
<v Speaker 1>uncover ways that it can add something to your art

1757
01:38:20.239 --> 01:38:22.279
<v Speaker 1>that was not there before. It's the same thing with

1758
01:38:22.600 --> 01:38:26.119
<v Speaker 1>this and Magic By There are a couple of books

1759
01:38:26.079 --> 01:38:28.920
<v Speaker 1>that touch on parts of these ideas, but nothing that

1760
01:38:28.960 --> 01:38:30.920
<v Speaker 1>I'm aware of that brings them together in this way.

1761
01:38:31.399 --> 01:38:34.319
<v Speaker 1>So it's a it's a toolbox that's likely not present,

1762
01:38:34.840 --> 01:38:37.439
<v Speaker 1>and it's in the complete form that's in this book

1763
01:38:37.680 --> 01:38:40.319
<v Speaker 1>with many people I know. I'm well aware that people

1764
01:38:40.600 --> 01:38:43.960
<v Speaker 1>work with some of these ideas already. Uh So there's

1765
01:38:44.000 --> 01:38:46.000
<v Speaker 1>a lot of synthesis going on here as well as

1766
01:38:46.039 --> 01:38:48.960
<v Speaker 1>a lot of background. When I write, I'm very much

1767
01:38:49.000 --> 01:38:51.640
<v Speaker 1>about and when I'm studying something for myself, I'm always

1768
01:38:51.680 --> 01:38:53.319
<v Speaker 1>very much about the history of ideas. I want to

1769
01:38:53.319 --> 01:38:55.239
<v Speaker 1>know not just what does it look like now, I

1770
01:38:55.279 --> 01:38:57.960
<v Speaker 1>want to know how we got here, what are the influences,

1771
01:38:58.039 --> 01:39:00.039
<v Speaker 1>what are the factors that go into it, where this

1772
01:39:00.279 --> 01:39:02.840
<v Speaker 1>come from, what are the other people done with it,

1773
01:39:03.960 --> 01:39:06.560
<v Speaker 1>et cetera. And so that that kind of informs the

1774
01:39:06.600 --> 01:39:08.880
<v Speaker 1>way that I write when I talk about, Okay, this

1775
01:39:08.920 --> 01:39:10.840
<v Speaker 1>is sort of where things begin and this is how

1776
01:39:10.880 --> 01:39:13.680
<v Speaker 1>they develop. But every step along the way, it's never

1777
01:39:13.800 --> 01:39:18.399
<v Speaker 1>just here's like, you know, brain dump after brain dump

1778
01:39:18.439 --> 01:39:22.960
<v Speaker 1>of these ideas. It's always talking about this particular aspect

1779
01:39:23.039 --> 01:39:26.039
<v Speaker 1>of language or of semiotics. Okay, let's go look at

1780
01:39:26.079 --> 01:39:30.800
<v Speaker 1>some examples to kind of illustrate that these points. And

1781
01:39:30.880 --> 01:39:32.399
<v Speaker 1>then when it gets to the what I call the

1782
01:39:32.439 --> 01:39:35.560
<v Speaker 1>case Steudy chapters that they at the end, these are

1783
01:39:35.600 --> 01:39:38.520
<v Speaker 1>taking like deep looks at things like there's there's one

1784
01:39:38.560 --> 01:39:42.520
<v Speaker 1>chapter that's entirely about runes. Not all uses of runes

1785
01:39:42.520 --> 01:39:45.199
<v Speaker 1>are magical biolog shot, but runes can be used in

1786
01:39:45.239 --> 01:39:48.439
<v Speaker 1>magical ways, and this talks about how one might go

1787
01:39:48.479 --> 01:39:53.199
<v Speaker 1>about that. There's a chapter that looks at, you know,

1788
01:39:54.000 --> 01:39:57.520
<v Speaker 1>broadly speaking, Mediterranean magic and late antiquity, so looking at

1789
01:39:57.520 --> 01:40:04.880
<v Speaker 1>the Greek magical PAPYRAI cursed tablets, a couple of things

1790
01:40:04.880 --> 01:40:08.479
<v Speaker 1>out of the KNA Commodi Library, things like that, where

1791
01:40:08.520 --> 01:40:11.760
<v Speaker 1>I'm looking at in depth at some existing examples of

1792
01:40:11.880 --> 01:40:18.720
<v Speaker 1>magical uh work and talking about them in linguistics and

1793
01:40:18.760 --> 01:40:21.640
<v Speaker 1>semiotic terms. It's kind of kind of like, Okay, here's

1794
01:40:21.680 --> 01:40:24.640
<v Speaker 1>how to apply these ideas to to something that we

1795
01:40:24.640 --> 01:40:27.520
<v Speaker 1>can study here. Then there's a chapter that looks at

1796
01:40:27.720 --> 01:40:30.359
<v Speaker 1>various modern schools of magic, and it talks about I

1797
01:40:30.680 --> 01:40:33.199
<v Speaker 1>take a look at Anenochian and Sigil magic. It's sort

1798
01:40:33.199 --> 01:40:35.600
<v Speaker 1>of like connecting threads because if you if you think

1799
01:40:35.600 --> 01:40:37.640
<v Speaker 1>about it, a lot of what we refer to as

1800
01:40:37.640 --> 01:40:39.840
<v Speaker 1>a nookan magic today was really kind of started by

1801
01:40:39.840 --> 01:40:42.399
<v Speaker 1>the Golden Dawn. Not a lot of people go back

1802
01:40:42.439 --> 01:40:44.840
<v Speaker 1>to some of the original d material the way like

1803
01:40:45.159 --> 01:40:49.079
<v Speaker 1>the way we work with it is from from most

1804
01:40:49.119 --> 01:40:51.720
<v Speaker 1>people is informed by the Golden Dawn in variations on it.

1805
01:40:51.960 --> 01:40:54.319
<v Speaker 1>But the Anoakian was also important to Crowley, it was

1806
01:40:54.359 --> 01:40:57.119
<v Speaker 1>important to the Church of Satan, it was important to

1807
01:40:57.159 --> 01:41:00.520
<v Speaker 1>the Temple of Set. Same thing with sigils. Uh. You know,

1808
01:41:00.560 --> 01:41:03.279
<v Speaker 1>the idea of sigils goes back, you know, probably as

1809
01:41:03.279 --> 01:41:07.359
<v Speaker 1>long as we've been painting on rocks. But you know,

1810
01:41:07.359 --> 01:41:10.239
<v Speaker 1>they started to get formalized in some ways, like in

1811
01:41:10.239 --> 01:41:15.439
<v Speaker 1>in the ancient Mediterranean worlds that pop up exactly yeah,

1812
01:41:15.880 --> 01:41:18.319
<v Speaker 1>and then like in the in the early modern period

1813
01:41:18.399 --> 01:41:21.680
<v Speaker 1>with like with like the Gosha and things like this,

1814
01:41:22.720 --> 01:41:26.359
<v Speaker 1>and and then then you have Austin Osmond's Fair brings

1815
01:41:26.359 --> 01:41:28.399
<v Speaker 1>this very different way of working with sigils as well,

1816
01:41:29.119 --> 01:41:33.319
<v Speaker 1>you reducing statements of intent to visual representations. Well, sigils

1817
01:41:33.359 --> 01:41:35.640
<v Speaker 1>pop up in spares work, they get they pop up

1818
01:41:35.640 --> 01:41:38.920
<v Speaker 1>in chaos magic, they pop up in the Temple of

1819
01:41:38.920 --> 01:41:41.520
<v Speaker 1>Psychic Youth, which is kind of adjacent grass magic in

1820
01:41:41.520 --> 01:41:44.560
<v Speaker 1>a sense. So those are sort of connecting threads through

1821
01:41:44.600 --> 01:41:48.119
<v Speaker 1>some different schools and techniques to kind of show both

1822
01:41:48.159 --> 01:41:55.239
<v Speaker 1>how Anochian and sigils developed, but also how different schools

1823
01:41:55.239 --> 01:41:57.760
<v Speaker 1>of magic, if you will, both formal and informal have

1824
01:41:58.039 --> 01:42:02.399
<v Speaker 1>used magical communication or linguistic aspects of their magic in

1825
01:42:02.439 --> 01:42:04.239
<v Speaker 1>different ways.

1826
01:42:06.000 --> 01:42:08.039
<v Speaker 3>That's even like getting into magic squares. That's like a

1827
01:42:08.079 --> 01:42:09.319
<v Speaker 3>whole the thing right there too.

1828
01:42:10.760 --> 01:42:10.960
<v Speaker 1>Yep.

1829
01:42:14.279 --> 01:42:18.079
<v Speaker 8>The idea that D came up with the Enochian magic

1830
01:42:18.279 --> 01:42:22.520
<v Speaker 8>symbols and systems is fascinating. And and again like love

1831
01:42:23.479 --> 01:42:27.439
<v Speaker 8>oh and and with with Kelly, and whether it was

1832
01:42:27.479 --> 01:42:31.720
<v Speaker 8>through the crying glass or just their mind or however whatever,

1833
01:42:31.760 --> 01:42:33.920
<v Speaker 8>it's just fascinating, and it's like Lovecraft.

1834
01:42:33.960 --> 01:42:37.319
<v Speaker 2>It just makes you think they were very tapped in.

1835
01:42:38.359 --> 01:42:42.079
<v Speaker 8>I'm wondering how you think about that in relation to

1836
01:42:43.000 --> 01:42:48.520
<v Speaker 8>a Kino And I've seen, you know, controversial things about

1837
01:42:48.560 --> 01:42:51.640
<v Speaker 8>him and how you like maybe interpret that and so on.

1838
01:42:51.680 --> 01:42:54.319
<v Speaker 2>And then he passed on if I'm right.

1839
01:42:54.279 --> 01:42:59.000
<v Speaker 1>All right, he passed away in twenty nineteen. Yeah, right,

1840
01:43:00.680 --> 01:43:03.600
<v Speaker 1>So my my personal opinion is that there there's definitely

1841
01:43:03.600 --> 01:43:07.159
<v Speaker 1>something interesting and real going on with D and Kelly.

1842
01:43:07.720 --> 01:43:10.760
<v Speaker 1>The reason I say that is because of the the

1843
01:43:10.800 --> 01:43:14.319
<v Speaker 1>overall it's not completely coconsistent, but the overall consistency of

1844
01:43:14.399 --> 01:43:17.439
<v Speaker 1>what they produced. It was just too elaborate to just

1845
01:43:17.479 --> 01:43:23.159
<v Speaker 1>be plot of thin Air. I mean, Kelly was a

1846
01:43:23.199 --> 01:43:30.000
<v Speaker 1>well known shyster, right, but there are things like they're

1847
01:43:30.039 --> 01:43:34.640
<v Speaker 1>recording things recorded in D's diary about Kelly passing on

1848
01:43:34.720 --> 01:43:39.640
<v Speaker 1>messages in Greek from from the angels. Kelly didn't speak Greek, right, right,

1849
01:43:40.000 --> 01:43:42.079
<v Speaker 1>They had no way to know this, right.

1850
01:43:42.840 --> 01:43:45.359
<v Speaker 8>And it was always ben more complex that it was

1851
01:43:45.399 --> 01:43:46.720
<v Speaker 8>in reverse, right.

1852
01:43:47.239 --> 01:43:49.039
<v Speaker 1>Right, right, Yeah, So all these things is like, yeah,

1853
01:43:49.039 --> 01:43:51.359
<v Speaker 1>there's there's there was something going on there when we

1854
01:43:51.439 --> 01:43:53.600
<v Speaker 1>never know exactly what I mean, because there are parts

1855
01:43:53.600 --> 01:43:57.600
<v Speaker 1>of it, like of the exact mechanism by which they

1856
01:43:57.720 --> 01:44:01.439
<v Speaker 1>trace out the words or with the symbols on the

1857
01:44:01.479 --> 01:44:05.840
<v Speaker 1>tablets is not entirely clear. Even with these diaries, it's

1858
01:44:05.880 --> 01:44:09.119
<v Speaker 1>not completely clear exactly what they were doing. So there's

1859
01:44:09.159 --> 01:44:11.119
<v Speaker 1>there's some there's something to it, and there's a that's

1860
01:44:11.119 --> 01:44:12.760
<v Speaker 1>one one of the many reasons why it kind of

1861
01:44:12.800 --> 01:44:16.640
<v Speaker 1>has this this long hold on the magical world in

1862
01:44:16.680 --> 01:44:22.680
<v Speaker 1>the West. So something going on there for sure. Where

1863
01:44:25.279 --> 01:44:27.600
<v Speaker 1>where the New King connects with the Temple of Set

1864
01:44:27.760 --> 01:44:30.760
<v Speaker 1>is with thing called a Quino called the Word of Set.

1865
01:44:31.359 --> 01:44:36.079
<v Speaker 1>And what this was was is he he did what

1866
01:44:36.439 --> 01:44:39.000
<v Speaker 1>a new what he called a new magical translation of

1867
01:44:39.039 --> 01:44:43.359
<v Speaker 1>the original keys instead of just taking the original English

1868
01:44:43.399 --> 01:44:46.880
<v Speaker 1>translations of the keys that de recorded in his diaries

1869
01:44:47.279 --> 01:44:49.359
<v Speaker 1>and doing things like Antony Levey did. It is kind

1870
01:44:49.399 --> 01:44:52.159
<v Speaker 1>of changing words, you know, where it says God scratched

1871
01:44:52.159 --> 01:44:55.000
<v Speaker 1>it out right in Satan, you know, think things like that,

1872
01:44:56.239 --> 01:44:57.960
<v Speaker 1>which is and I thought about that in the book

1873
01:44:57.960 --> 01:44:59.399
<v Speaker 1>as well as a bit more advanced in what he

1874
01:44:59.439 --> 01:45:02.399
<v Speaker 1>was doing. People kind of wave off what they was

1875
01:45:02.399 --> 01:45:04.520
<v Speaker 1>doing there. There were there was a method to as

1876
01:45:04.520 --> 01:45:06.560
<v Speaker 1>mad as there, but I won't get into that at

1877
01:45:06.600 --> 01:45:09.600
<v Speaker 1>the moment. But what a Quino was doing was attempting

1878
01:45:09.640 --> 01:45:13.920
<v Speaker 1>to bring in something completely different to that. Now he

1879
01:45:14.640 --> 01:45:19.520
<v Speaker 1>was wanting to to say if because keep in mind

1880
01:45:19.560 --> 01:45:25.359
<v Speaker 1>that that Decon and Kelly considered themselves they were still Christians.

1881
01:45:25.720 --> 01:45:29.319
<v Speaker 1>They still consider themselves doing the Lord's work in some way.

1882
01:45:29.720 --> 01:45:32.680
<v Speaker 1>They were. They were trying to get their name for

1883
01:45:32.760 --> 01:45:34.000
<v Speaker 1>it was not an nook, and their name for it

1884
01:45:34.079 --> 01:45:36.439
<v Speaker 1>was the Adomic language, right. They were trying to they

1885
01:45:36.439 --> 01:45:39.279
<v Speaker 1>were trying to access the language that Adams spoke, which

1886
01:45:39.319 --> 01:45:43.079
<v Speaker 1>had been a quest that many had gone on the

1887
01:45:43.119 --> 01:45:45.920
<v Speaker 1>idea that the original language must have some power. If

1888
01:45:45.920 --> 01:45:48.520
<v Speaker 1>we only find out what that original language was, now

1889
01:45:48.560 --> 01:45:51.560
<v Speaker 1>we'll have that power too. So it's a long line

1890
01:45:51.600 --> 01:45:55.239
<v Speaker 1>of people trying to find the original language, so to speak.

1891
01:45:59.520 --> 01:46:01.800
<v Speaker 1>And what the queena was doing is saying, okay, if

1892
01:46:01.840 --> 01:46:04.079
<v Speaker 1>I'm approaching this ass, someone who is a magician, is

1893
01:46:04.079 --> 01:46:07.800
<v Speaker 1>someone who doesn't have the baggage of being a Christian

1894
01:46:07.920 --> 01:46:09.800
<v Speaker 1>like they did that what that did factor into a

1895
01:46:09.800 --> 01:46:12.399
<v Speaker 1>lot of their interpretations they were trying. They were trying

1896
01:46:12.439 --> 01:46:15.279
<v Speaker 1>to squeeze us into a biblical narrative, somehow, into an

1897
01:46:15.279 --> 01:46:22.319
<v Speaker 1>apocalyptic biblical narrow narrative. Specifically is he described it as

1898
01:46:22.760 --> 01:46:27.800
<v Speaker 1>trying to sense, getting a new sense and what the

1899
01:46:27.840 --> 01:46:30.880
<v Speaker 1>keys were trying to say originally, and I'll pull up

1900
01:46:30.920 --> 01:46:34.399
<v Speaker 1>I'll try to find it very quickly. The best way

1901
01:46:34.399 --> 01:46:38.840
<v Speaker 1>to illustrate this and is with to compare the first

1902
01:46:38.960 --> 01:46:44.359
<v Speaker 1>line of the first key with way the original d

1903
01:46:44.439 --> 01:46:47.800
<v Speaker 1>translation and what you find in the Temple of Set,

1904
01:46:48.000 --> 01:46:50.640
<v Speaker 1>what you find in the Word of Set. Excuse me, aha.

1905
01:46:51.159 --> 01:46:54.199
<v Speaker 1>So the first line of the dran of D's translation says,

1906
01:46:54.239 --> 01:46:57.000
<v Speaker 1>iragn over you saith, the God of justice and power

1907
01:46:57.000 --> 01:47:02.079
<v Speaker 1>exalted above the firmaments of wrath. I'll stop there. The

1908
01:47:02.119 --> 01:47:03.680
<v Speaker 1>first line of the Word of Set. This is a

1909
01:47:03.720 --> 01:47:07.520
<v Speaker 1>Quino's translation. The Aquino's sense of what was trying to

1910
01:47:07.560 --> 01:47:10.199
<v Speaker 1>be said there, I am within you and beyond you,

1911
01:47:10.279 --> 01:47:13.239
<v Speaker 1>the highest of life in majesty, greater than the forces

1912
01:47:13.239 --> 01:47:16.439
<v Speaker 1>of the universe. So we already see here a very

1913
01:47:16.560 --> 01:47:21.840
<v Speaker 1>clear distinction between perspectives I reign over you versus I

1914
01:47:21.920 --> 01:47:24.680
<v Speaker 1>am within you and beyond you. That is a completely

1915
01:47:24.680 --> 01:47:28.960
<v Speaker 1>different conception of divinity and what divinity means for us,

1916
01:47:30.000 --> 01:47:31.720
<v Speaker 1>what it means to have some connection
