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