Skotoma

nedjelja, 30.03.2008.

Raven Tasted My Heart

No need for murder, no need for death-
I comfort myself with a fact you still give me strenght.
Dreadful night, walking alone again,
Trying to figure out why our love never got in first plan.

Failure hurts the most but I cannot forget
Your body, the most beautiful eyes, a gift to be moderate.
I'm so confused. What to do?
Will you be mad if I pick the phone and talk to you?

I wish there's still a chance,
That you still feel something.
Midnight here never ends,
Like a soldier morbid.

Stars shinning bright,
But without their beauty.
Oh, I wish there's still a chance
To be...

There is no help for me
For you're raven that tasted my heart;
Come back to me.

Now I feel eternized fresh sorrow,
First betrayal to batter my heart.
I'm vampire cathedral, like heavy shower
I feel my instinct tearing me apart.

Roses to rotten, end of beautiful dream,
Now I dedicate my time to wine.
Happiness fake behind your mask divine,
Failure of years I've spent with you.
I want you're mine...

Nothing but strings of sadness,
Revelation, new age of madness.
Without wind now I'm cruising on
To ascend the inside morning throne.

I wish there's still a chance,
That you still feel something.
Midnight here never ends,
Like a soldier morbid.

Stars shinning bright,
But without their beauty.
Oh, I wish there's still a chance
To be...

There is no help for me
For you're raven that tasted my heart;
Come back to me.

30.03.2008. u 12:21 • 1 Komentara • Print • #

srijeda, 26.03.2008.

Dok nas smrt ne rastavi

"Svako interesiranje za bolest i smrt je samo drugi oblik zanimanja za život." Thomas Mann (1875 - 1955)

"Smrt može biti najveći ljudski blagoslov."
Sokrat (469 pr.Kr. - 399 pr.Kr.)

"Cilj svakog života je smrt."
Sigmund Freud (1856 - 1939)

26.03.2008. u 10:44 • 2 Komentara • Print • #

utorak, 25.03.2008.

Dijagnoza: Smeće

Krv nije voda, nego vino u ruci onoga koji ga pije. Vrijednost mu se mjeri po čaši i ruci. Ako ga pije plemeniti, tada je hrana, lijek i božanska tvorevina, a ako propalici dane krati, otrov je i alkohol prosti. Najljepše je suditi po znaku, po jednostranim izvanjskim podražajima. Majka vas učila da kopate oči imućnima a ljubite ruke poganima. Od kud vam pravo govoriti kad ne znate? Usta se osušila onima koji govore o nepoznatome. Svijet će preplaviti potpuna tišina, i kap kiše će biti previše za kraj riječi. Riječ je tijelom postala al ne prebiva među nama. Pukih li molitava, vremena provedenih uzalud, čekajući u redu ispred vrata istine, odmah iza Velikog idola. Trava ne raste na suhoj zemlji. Nema kruha našega, duša se ispire i odlazi. Ostaješ, uz stihove Utjehe, krv će teći, stroj puhati sve do jednom, a potom vrijednost stvara Nihil, kosti postaju svadbeno ruho a razum tvoja nedosanjana divota.

25.03.2008. u 11:22 • 0 Komentara • Print • #

četvrtak, 20.03.2008.

Execration Text

Among the most sinister objects from the ancient world of Egypt are the figurines in human shape which were used to cast spells on the persons they depicted. Such objects survive to this day usually only when they are buried as a part of a rite, and usually in the vicinity of a tomb or necropolis. Archeologist have found the remains of such rites at the royal cemetaries of Giza, Saqqarra, Lisht, and at several forts in Nubia. Stone, wax, or mud figures, or broken clay tablets or clay pots, are inscribed with lists of the enemies of Egypt. The body of the figure is usually flattened to make room for the text, or sometimes a papyrus is inserted inside the body cavity. On the back, the arms, or the arms and legs, are bound together. The inscriptions found on them are called "execration texts." These texts threaten death to specific people. Often, they include the name, parentage, and title of war. The execration texts were mainly aimed at enemy rulers, hostile nations, and tribes in Nubia, Libya, and Syria-Palestine. Magickal incantations and rites were used to cause death and suffering, and to prevent the angry spirits of the executed from taking vengeance on those who had condemned them. Usually included in these texts are long-standing enemies of those involved in the cursing rites. There is also often a catchball phrase against any man, woman, or eunuch who might be plotting rebellion. Amongst the common people, the execration rituals were carried out after the killing of a personal enemy or the execution of criminals. By killing the enemy's name, which was an integral part of the personality, this rite would extend the punishment into the afterlife. The spirits of defeated enemies or executed traitors were regarded as a continued supernatural threat, which needed to be met with magic. The wording of the texts is similar to that of contemporary spells on papyrus, which promise to protect against the malice of demons and ghosts. Those named in the execration texts are referred to as "mut" - the dangerous dead. It is also the word used to describe the troublesome dead in protective spells for private persons. The stone figures and red clay pots on which the execration texts were written were ritually broken as part of the cursing ceremony in order to smash the enemy's power. A pit near the Egyptian fort of Mirgissa in Nubia contained hundreds of such pot shards, as well as over 350 figures. Deposite of figures have been found outside fortresses, tombs, and funerary temples. The clay figures were burned and then buried with iron spikes driven through them, or nailed to the outer walls, as the bodies of executed traitors and foreign enemies sometimes were. The more eloborate enemy figures were sometimes trussed up like animals about to be sacrificed. Some are shown with their throats cut, the method used to kill sacrificial animals. The dismembered body of a Nubian and a flint sacrificial knife were found near the Mirgissa pit. Some Egyptologists believe that human sacrifices routinely accompanied execration rituals, while others have argued that the figures were normally a substitute for such sacrifices.

Link To Execration Text

20.03.2008. u 08:35 • 5 Komentara • Print • #

srijeda, 19.03.2008.

Stvar načina

Americay Way

19.03.2008. u 10:27 • 1 Komentara • Print • #

Ubiti

"Kill one man, and you are a murderer. Kill millions of men, and you are a conqueror. Kill them all, and you are a god."
Jean Rostand (1894 - 1977), Thoughts of a Biologist (1939)

19.03.2008. u 07:50 • 0 Komentara • Print • #

subota, 15.03.2008.

Kratko, osobno, sada

Novi početak nije i novi život. Odluke se donose voljom i razumom. Samo jednom imati priliku, misliti da je jedina i ona prava, a prevariti se... Što je zapravo životna prilika? Kako vidjeti šestim čulom i osjetiti ono stvarno? Izgubih ono što bješe zapravo, pravo i dugotrajno. Sad tražim i nalazim zadovoljstvo, ovakvo i onakvo, fizičko i duhovno. Ne želim se držati mudrosnih knjiga niti savjeta starijih koji su upitno stariji-ovisno o mojim godinama. Mudrost ne određuju godine niti iskustvo, a ni opojna sredstva. To je nešto veće i razboritije od pukih činjenica, al ne dotiče se buntovnosti. Valja mi ići i tražiti (dalje). Put je dug a svjetlost se nazire. Jedino ne mogu odrediti udaljenost...

Dozivam vječnost i dobrotu, grohot slobode i mir.

15.03.2008. u 01:18 • 0 Komentara • Print • #

petak, 14.03.2008.

Carnal

Austin Osman Spare (December 30, 1886 - May 15, 1956) was an English artist and magician.
He was the son of Philip Newton Spare, a London policeman and Eliza Ann Adelaide Osman. As a child, he showed an affinity for art, and he briefly attended evening classes at Lambeth School of Art. In 1907 Spare exhibited his drawings at the Bruton Gallery in London. Critics likened his work to that of Aubrey Beardsley, but Spare's images were full of grotesque, sexualized human figures and magical symbols. These elements appealed to avantgarde London intellectuals, and brought him to the attention of Aleister Crowley. He became a Probationer of Crowley's order A.'.A.'. (Argenteum Astrum) in July 1909, but was not initiated as a member, although he contributed four small drawings to Crowley's publication The Equinox. Crowley later characterized Spare as a "Black Brother", meaning that he did not approve of the goals of Spare's magical philosophy. His magical motto was Yihoveaum.
His iconoclasm, distaste for the props and symbolism of ceremonial magic and his aversion to moralism as well as his innovative use of sigilization served to distinguish his personal style of magic which his associate Kenneth Grant called Zos Kia Cultus. Grant in 1972 introduced that "Spare's intense interest in more obscure aspect of sorcery" was the result of his friendship with a woman named Mrs. Paterson who "claimed descent from a line of Salem witches." He also spoke of and drew portraits of a spirit guide named Black Eagle who often appeared in the form of an Amerindian man.
In 4 Sep 1911 he married to Eily Gertrude Shaw. In 1917, during World War I, Spare was conscripted into the British army, serving as a medical orderly of the Royal Army Medical Corps in London hospitals. He did not see active service, and was commissioned as an official War Artist in 1919. He visited the battlefields of France to record the work of the Royal Army Medical Corps. Several of his works presently hang in the Imperial War Museum.
Although regarded as an artist of considerable talent and good prospects, Spare lived a rather secluded life from the mid 1920s onwards, falling out of step with changing trends and influences in the broader art scene. He sold his unique work for low prices at irregular exhibitions held in his home studio and in South London pubs. Spare expressed contempt at the idea of selling his works at higher prices - an option he could easily have had available to him. He worked very quickly and often finished drawings in minutes.
Among his books, Spare adopts the name Aŕos when referring to himself.

Regarding Spare's magical system, Kiaism, his terminology is unique and could not be traced back in other traditions. The introduction of original concepts like "Kia", "Ikkah", "Sikah" are happened for the first time in Spare's first book Earth Inferno and remain conceptually consistent until Focus of Life.
Beside important influence of Kiaism on occultism in general, it represents no specific way for personal development and/or any sets of instructions. But alludes the person to devise his personal system of philosophy or magic.
The supreme state in Kiaism, Kia, is sketched: "The absolute freedom which being free is mighty enough to be "reality" and free at any time: therefore is not potential or manifest (except as it's instant possibility) by ideas of freedom or "means," but by the Ego being free to receive it, by being free of ideas about it and by not believing."
However that Spare continually insists in various places that Kia is undefinable and any definition makes it more obscure.
Kiaism regards Belief and Desire as the great duality. In this system, Ego is a part of Self belonging to one Being while Self encircles the whole Being. Each "human" Being wills the desire. This desire imagines a new belief and belief by means of conceptualizing new concepts forms the Ego. Spare names these conceptions, "the ramifications of belief" which form different personalities for corresponding Ego. But the mentioned will is a partial one. The Will (emphasized by capitalizing) lies in the realm of Self - pertaining to Kia.
Self-Love is a mental state, mood or condition caused by the emotion of laughter becoming the principle that allows the Ego appreciation or universal association in permitting inclusion before conception. So it is no narcissistic self-reflection of the glamours of the ego, rather, it is the void at the core of an identity which is freely able to move into any desired set of social relations, without becoming trapped or identified entirely within them. As the core of the sense of self is Self-love, rather than any label which encapsulates any particular set of behavior, beliefs and life-patterns, one attains a state of great freedom of movement and expression, without the need for self-definition.
Sacred Alphabet or Alphabet of Desire are simplified forms of sigils that could be composed for expressing a desire. The philosophical background to "Aphabet of Desire" are extensively explained in The Book of Pleasure.
The first Sigillic formula to appear in Spare's published works can be seen in his second volume A Book of Satyrs.
He also designed and used a pack of cards which he called the Arena of Anon, each card bearing a magical emblem which was a variation of one of the letters of the Alphabet of Desire.

Spare's especial method of sigil magic has played an important role on development of chaos magic. However that due to complex nature of his philosophy it is probable that its influence continues in more deeper aspects. As Peter J. Carroll recites:
"I do not collect books, anything worth reading I pass to friends, the rest, I destroy. The only exception being Austin Spare; I keep the collected works as I feel I have yet to fully understand them."

"At no time in my life have I been a person to hold myself polluted by the touch, habits or approach of any creature other than those who were human shape." - Austin Osman Spare, c.1945

Link to Carnal

14.03.2008. u 17:08 • 0 Komentara • Print • #

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