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branches ::: Kenneth Grant
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Instances - Definitions - Quotes - Chapters - Wordnet - Webgen


object:Kenneth Grant
class:author
subject class:Occultism
Influences:Aleister Crowley, Austin Osman Spare


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OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
SEE ALSO


AUTH

BOOKS
Infinite_Library

IN CHAPTERS TITLE

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
1.78_-_Sore_Spots

PRIMARY CLASS

author
SIMILAR TITLES
Kenneth Grant

DEFINITIONS



QUOTES [2 / 2 - 9 / 9]


KEYS (10k)

   1 Phil Hine
   1 Kenneth Grant

NEW FULL DB (2.4M)

   6 Kenneth Grant

1:The number 11, according to Crowley, is "the general Number of Magick, or Energy tending towards Change". The change is precisely the transition from one dimension to another signalized by the changing colors of the Shining Ones as they pass through the gateway of death to reappear in another dimension. The death of Osiris symbolizes the change. Furthermore eleven denotes the One behind the Ten. ~ Kenneth Grant, Outer Gateways,
2:Further Reading:
Nightside of Eden - Kenneth Grant
Shamanic Voices - Joan Halifax
The Great Mother - Neumann
Fear & Loathing in Las Vegas - Hunter S. Thompson
Cities of the Red Night - William S. Burroughs
The Book of Pleasure - Austin Osman Spare
Thundersqueak - Angerford & Lea
The Masks of God - Joseph Campbell
An Introduction to Psychology - Hilgard, Atkinson & Atkinson
Liber Null - Pete Carroll ~ Phil Hine, Aspects of Evocation,

*** NEWFULLDB 2.4M ***

1:In all forms of magick, the imagination or image-making faculty is the most important factor ~ Kenneth Grant
2:Thus the blasphemy of the homosexual formula, for it denies Babalon and breeds devils in chaos. ~ Kenneth Grant
3:ZOS and Scire had a fierce argument as to who had been to the Witches’ Sabbath, what the Witches’ Sabbath actually was, and so on. Scire drew his magical athame and showed ZOS the strange characters on the hilt. ZOS should have blanched before them but he didn’t, saying he “knew all them symbols and more ~ Kenneth Grant
4:The number 11, according to Crowley, is "the general Number of Magick, or Energy tending towards Change". The change is precisely the transition from one dimension to another signalized by the changing colors of the Shining Ones as they pass through the gateway of death to reappear in another dimension. The death of Osiris symbolizes the change. Furthermore eleven denotes the One behind the Ten. ~ Kenneth Grant, Outer Gateways,
5:Further Reading:
Nightside of Eden - Kenneth Grant
Shamanic Voices - Joan Halifax
The Great Mother - Neumann
Fear & Loathing in Las Vegas - Hunter S. Thompson
Cities of the Red Night - William S. Burroughs
The Book of Pleasure - Austin Osman Spare
Thundersqueak - Angerford & Lea
The Masks of God - Joseph Campbell
An Introduction to Psychology - Hilgard, Atkinson & Atkinson
Liber Null - Pete Carroll ~ Phil Hine, Aspects of Evocation, #reading list,
6:Spare’s drawings were always inspired by the New Aesthetic, the New Sexuality. They amount almost to masturbation in line; the line coils and curls upon itself and mounts the steep incline of ecstasy as the amazing sigils are woven into a complex web of dream. To follow closely the line of some of his Sabbatic drawings is to leave earth and dive obliquely between those spaces that Lovecraft celebrated in his nightmare tales. Such drawings are themselves the gateway to the Sabbath; one is drawn into a vortex and whirled down the funnel of consciousness which explodes into unknown worlds. Spare would not reveal the magical graphs that unsealed the cells of these eldritch dimensions… ~ Kenneth Grant
7:Atavistic resurgence, a primal urge towards union with the Divine by returning to the common source of all, is indicated by the backward symbolism peculiar to all Sabbath ceremonies, as also of many ideas connected with witchcraft, sorcery and magic. Whether it be the symbol of the moon presiding over nocturnal ecstasies; the words of power chanted backwards; the back-to-back dance performed in opposition to the sun's course; the devil's tail - are all instances of reversal and symbolic of Will and Desire turning within and down to subconscious regions, to the remote past, there to surprise the required atavistic energy for purposes of transformation, healing, initiation, construction or destruction. ~ Kenneth Grant
8:***What reasons made you to found the Dragon Rouge? When the idea to found it for the first time in your head appeared?***

It was several reasons, and its a long story so I can’t tell the whole story here, but three reasons were most important: 1) it was a need for a new practical oriented order, 2) it was a need for a new order working with the LHP, Draconian Current and Nightside Tradition, 3) I got the impulse from older draconian magicians both in Sweden and Marocco to found a new magical order based upon a practical oriented version of the LHP, Draconian Current and the Nightside Tradition.

***I`m not sure do I remember well, but somone told this was not your idea, but it was the decision of the secret association derived from Yezidian and Tyfonic traditions? Is it true? Can you say something about that association?***

Yes, you are right. As I said above I got the idea from a secret group of Swedish magicians. I got a lot of magical texts from them and their work was partly based upon the typhonian tradition and there interpretation of yezidism. They claimed that their founder was inititated in a yezidi circle in Kurdistan. Much of their concept reminds me of what you find in the writings of Kenneth Grant and I think they were inspired by him, although they made a lot of new interpretations and inventions. I also recieved small but important magical things on a journey to Marocco in the days when Dragon Rouge was about to be founded, and one of our earliest members was a pupil to a american magician who gave us a lot of unique material about LHP Egyptian magic and dark Egyptian deities.

interview - Therion.Metal.Pl and for e-zine Rock4eveR both on 16th of September 2003. ~ Thomas Karlsson
9:The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things.

Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us.
On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena.

But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind. ~ Kenneth Grant

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