Integral Text of the Invocation from Tal'Bet Muabet

Note: This invocation can only be safely used by devotees of the Divine Catastrophe Revolution, but also those who aspire to be. For everyone else, this text has no value.

You can find more about the Divine Revolution if you click on the label "revolution"

This article is taken from my book Tal'Bet Muabet (Liber orationis magicae). If you want to buy this book, you can order it via this e-mail: dorijan.nuaj@gmail.com

In this chapter, the basic text of the invocation is provided in its original form and sequence. The method of invocation is rhythmic; it can be chanted as a song, an incantation, a series of vibrational formulas, whispered, or even hissed, and it can also mimic child-like speech. Therefore, we can say the invocation is arranged in the form of verses. The invocation has two titles: “Tal’Bet Muabet“, referring to the invocation as a book, and “Avakor te Yurmaas“, which refers to the invocation as an incantation. You can use this invocation in its entirety or partially, and even create separate formulas from its words according to the purposes of your interests or needs.

How to Work with This Invocation? There are intellectual and practical methods. Intellectual means the Kabbalistic study of the meanings of the words and verses of the invocation, studying commentaries, and contemplating observed internal synchronicities. The goal of this work is to increase your knowledge from the more or less hidden information with which the text of the invocation abounds. Practical work involves chanting in one of the mentioned ways.

However, to establish a fundamental connection with the spirits of this book, you need to consecrate it in a certain way. Essentially, this is not strictly necessary, but it is certainly helpful during your magical work with the occult forces represented in book. The method you use to consecrate the book depends on your inspiration and creativity. However, for it to work, you need to drop a little blood from your finger onto the provided symbol (the stylized beetle-like symbol on the cover page of this book), and seal it with your right thumb. This will establish an unbreakable bond between you and the spirits of this book. I repeat, if this seems too radical to you, do not do it, or wait a while, think it over, study the book thoroughly, and then make your decision. However, once you do it, there is no turning back.

The moment you consecrate this book and imprint a bit of your blood on the provided symbol within it, the book ceases to be just an ordinary object. In a way, it then comes to life, obligating you to treat it as a living being. Therefore, you must keep it out of the reach of others. Thus, a printed and bound object intended for reading becomes a magical entity. Always keep this in mind. In this case, even any incidental notes you make in its margins in some way obligate you. Show seriousness and responsibility.

To begin with, the best time to work with the invocation is at night. It is important to perform all preparatory activities for this type of work beforehand. In this regard, I have no standard instructions. Proceed as you see fit. If you have no ideas, you might start by taking a bath, then meditating or performing ritual cleansings. Prepare a quiet and dark room for yourself. Also, prepare a cup or glass with drinking water and a ritual table where you will place the glass, and behind it, in the same line, place a candle with a lighter or matches beside it. The table should face east. Similarly, prepare a circle of consecrated salt facing west. Therefore, you need a sufficient amount of consecrated salt to form a circle of magical protection. Let the circle be large enough for you to sit in it and still have space to place seven candles in a line in front of you (or acquire a candelabrum like a Hebrew menorah), the book of invocation, and a lighter or a box of matches. Test beforehand how much salt you need and the diameter the protective circle should be.

1. When everything is prepared, sit down, light the candle, and say FIAT LUX (let there be light). For a while, keep your gaze focused on the candle flame, encompassing the glass of water with the corner of your eye. Then stand up, raise your right hand high above your head, and imagine you are drawing from a source of light. Let the light in your hand form a blazing pentagram. Then say: APTERNOS (Pater Noster, Our Father). Do this several times until the pentagram clearly ignites in your hand.

2. Maintain the bright pentagram in your imagination and slowly lower your hand towards the glass so that the center of the pentagram aligns with the center of the glass. Slowly rotate your hand around the rim of the glass and say ABERAMENTO (a term denoting God's spirit over the waters, Ruah Elohim). You need to induce a pleasant tingling sensation in the center of your palm with this circling motion and create the impression of the water rotating in the glass, as if you were stirring it with a spoon clockwise. Do this until you achieve a satisfactory synchronization of hand movements, a pleasant sensation in the center of your palm, a mental image of a shining pentagram formed over your palm, a feeling of water movement, and the uniform vocalization of the formula ABERAMENTO.

The next step is to stop everything, place your palm on the glass, and imagine the energy from the shining pentagram pouring into the water. Then, say the name of the Greek goddess of health, HYGIEIA. Repeat this as many times as necessary until you are sure the pentagram's energy has completely transferred into the water.

Take the glass and slowly drink the water. Return the empty glass to the table and place your right palm on your solar plexus. Feel the water spreading throughout your being. Along with this feeling, say the word ANANISEPTA, which signifies healing, cleansing. Remain in this position as long as you feel comfortable. When finished, return the glass to its place and turn it upside down. Let only the candle remain.

Turn towards the west and enter the protective circle. Take a seated position. Light one candle at a time and say AVAKOR TE YURMAAS. When all the candles are lit, take the book of invocation and begin the incantations. Of course, it would be best if you knew all its verses by heart, but until you become a hafiz (a person who knows the entire text by heart) of this invocation, it is advisable to use the text. As long as you do not learn the entire invocation by heart without any mistakes or stammering, you will work in the described manner. Only when you have completely mastered the text can you move on to working in nature, outdoors, without a circle and without the ritual drinking of magnetized water. Then, you will perform the invocation standing, with certain movements as the energy lifts you. You will feel, even during indoor work, that you want to make certain movements. You can gesture and give hand signs, raise and lower your voice, change its color, the manner of pronunciation. Sometimes it will be shouting, sometimes vibrating, then whispering, hissing, or singing.

Of course, you can completely ignore my instructions and do as you see fit. Maybe it will turn out to be better for you, but if you are not sure about it, but absolutely sure, my advice is to follow my instructions. Over time, your self-confidence will grow. The text of the invocation follows...

Avakor te Yurmaas

A ka te o Yurmaas / A ka te Petra Libor / Ai yu Amhazar / Ai yu Bafomitras / Ai yu Magister Shet Silbi / Ai yu Diosfer / Kerner Kerneros / Te ka Karnabos / Te ka Karnaboros / A ka te o Yurmaas / Orfonos Orfonostris / Ura Rao Sole Norte / Oruru Hrot Moire Morte / Tumtul Astovid / Heru Hoa Aha / Iao / Ranust Avanaturigh Ariimariigh Buligard / Agla Arec Oniru Terata / Agsol Raoum / Oresa Amen / A ka te o Yurmaas / Aivaz Eiton / Heka Surilat / Shatiel Urizen / Aglata Tulatlan Elila / A ka te o Yurmaas / Saa Almas / Azatron Abartas / Aumha Hekau / Gramet Sabator

Abraseth Zamran / Arbaton Pateon / Talatutla / Ai yu Hagart / Ai yu Altruseth / Mona Darka Peteor ta Seth / Agarne Hoi Pelai / Amarat Fatas Felat / Atlantuat Kor mi Hoor / Iluena Orosmoor / O Yurmaas Ratsul Kalok Amongar / Aktrazos Kataros / Amagat Hatmon / Ararira Ararita Kor ve Hoor / Shamram Ishtahar

I-ש-T-A-H-A-R

R-I-ש-T-A-H-A

A-R-I-ש-T-A-H

H-A-R-I-ש-T-A

A-H-A-R-I-ש-T

T-A-H-A-R-I-ש

ש-T-A-H-A-R-I

Edonal Ruahai Ash Tai Tarot / Arbaron Raraora / Abadon ta nee / Melai Nahasa Bahaol / Arfeton Teruhay Babaol / Eletaur Saragas / Ozardaz Temelta / Abramoth Moth Tuarvot / Rotasator Oheoi / A ka te o Yurmaas / Agatobo Akondo / Akondo Arec / Armaros Abeleh Hakoi Meleh / Rotasoter Lumagtar / Sargonat Sargosfair Opte Sulet

 
Asfortos ha Amnona / Zaorzeh te nee / Apifol Aktarah Kataruma Sarumah / Shadarzan Armazas / Amemor Otiketa Bes na Fornos / Adonai a ka te / Andro Niasi Ihyoarsa Mios Yuenda Neo / O  Apternos Vexeras / Arelena Spirato / Oniopo Loxotros / karnabos Quasabe Yurmaas / Harazashtu / Lahema Morath Mor te Vei / Azarze Gaidudur / Anabona Axinopo Almiras / Tlatalatla Buligard / Elilim Atem / Hapsharash / Diosfer Kristeos Nanaeel / Sabadeo Zohadel / Samazis Satiriazis / Amhazar Fulgifeme do ta nee / Alhagil Sumrahtar / Sakondot Skabolas / Titenaka Ilmulita / Ai yu Amagao Groto / Darabesa Albamak / Erigion Alcifon / Matgagal Ogal Tumal Otumal / Kirxena Ilnumara
 
Ablablata Elkanah Tuat / Alifaros Alifaros Alifaros Omni / Tul-tal-nul Mulkurul / Zedereza Himsera / Hadarmot Kor mi Katarot / Mihlaar Vahlaar Serpofis / Bakurabon Parsemon / Bakuhaba Unmehora Kor mi Hoor / Balbalim / Essalonai / Essalonai Barboros / Rimadey Galdirya Esanulas / Ishtaharatra Vuor ka Maas / Noxamah ka me / Noxamah kar te / Luciftias Karnaboros ka te / Karnabos Karnaboros Karnaxarte / Athashmim Xifonam / Sulatra Shatal / Shantu Shalshuru / Sangariel Akadadon / Paxarabas Homorion / Garonomas Vular-pa-Vul / Ixardabas Akadamon / Oneifeton / Lotiketi Trehrepreh / Rekabustira Fenotron Hoor Miron / karkahita / Bafomitras ai yu / Oziromias tu yu
 
Amolohoor Avanaturigh / Aberamento Ananisepta Hoor / Tartarmararash Tautorx / Xilonasya Pelai / Abakabaka / Abaka-kabaka Sula-lula Menaka / Agrabamatla Astar / Komselahe ta Mei / Ariimariigh Agasal / Abrahadabra Lilu-lita-lali / Skarabardarot / Kaba-kabaka Baka-kabaka / Elohim Atem o te nee / Ablanatanalba / (Yarmet Eesinagh (Do not pronounce!) / Kitaginagine / Kazaldon Kazbon / Haz Arara Zaaha / A ka te o Yurmaas / Ratsul Kenohok Edget / Pelai Torsorostro / Fa Poo Botafogo / Bon Fa Luciftias / Bon Fa Pa te Vela / Ultinazas / Lal Pa Lil Fo / Lal Lil Pa Fo / Lal Fo Lil Pa / Lil Lal / Fo Po Fo Lil
 
Fo Lal / Pa Lil Pa Lal /
LAPIFO
OLAPIF
FOLAPI
IFOLAP
PIFOLA
APIFOL /
Azaznahasaf / Zazar / Zorami Zaitux Elastot / Jazam Anahap ne / Ordial Lofono / Satanas Belusade Sabadeo / Amortemor / Aresatan Shabt Sheitan / Timalaix Hirobulkul / Bealmataz Abednego / Netona-Dawaz / A ka te Onunaros / Arrurra Arrurra / Arrurra ta Seth / Aptmelaa / Anak Harsamtau / Nebhunuter / Fetesekri na Hol / Ai yu Amseher / Aarrusfer / Aarruharush / Aarruharaz / Khuti Aarru Talas Fornos / No me Arru Palas Fortas / Noto Apazuzu Menet Manes / No me Felai Apidos
 
Sa Sa Fernet Melai / Oxodoxo Noxfero / Heru Sah Sekenre Felai / Annu Nai Teserektet / Mendes Anteris / Mendes Apternis / Xorte Nut Avnia Amentetis / Tah ma Tenex Amaldor / Kuakar Ganazas / Kuakar Sah Osoronofris / Metet Telmes Altotaz / Seton Totos Animagis / Ginekonostera Arruerri / Kokine Gine Fatah Tal Tuat / Ain Heru Ra Heka Tei / Ai yu Tehtuan Tehtuoan / Ai yu Skaraboros / Ai yu Mathakor / Aurro Karabo Karaba Kabaras / Ai yu Erpatas / O Sehtetef / Anamun Hela / Anamun Men Sa Fela / Ameno-Ha-Tulat / Nasafertos / Amenofortis / Berotot Tistatoros / Erotopaxer Noxtofagio Esa / Beronotron / Berotronomis
 
Taxakor Avantis / Avaris Abaris Arrueris ha Seth / Iznuda Kristeos / Bakti-yaar / Hanumena Amemorta / Me ko ha te / Anemura Rura ma no Felat / Gorodastas Sex / Emaporas Fortas / Sefer Narinu Ogmas / Fulgifeme Asferata / Anemokie Basilisk / Obasilo Liskefris / Amemoter Lombardis / Amenoposter Felonomortes / Ihtyago Qavarado Amemortis / Io-Memorti Mnemonti Memonti Xohooros / Kreasso Avakor / Aura Aurta Amnurta Arru Oreas / Oro Aurro Mirro / Miromorto Amiromorto / Notes Pades Uta / Infaroz Beax / Abrahadabra Abrakonosteras / Abrakohadar Abrakadatabra / Abraka Kadabraka / Materx Quarri Abradari Qab / Tritelii Solax Sols Solster Beax / Kastapolas Katastolas / Adepti Aurro Mirro
 
Kondotieri Apostasio Fane / No Demonas Kahahorta Oro Mai / Apopaster Nomo Osoronofris / Apopaster Nomo Eroi Arru / Ofsofo Osferdix / Adamon Atlas Oriensis / Tronoh Altarx ta Seth / Hefziba Beulah / Zahlafos Paxador / Mariam Hefziba / Nebetenpet Wale / Prastarya Oduduranta / Arorea Adimirones / Gospodux Prastarita Prastyahara / Numinomas Arima Oris / Shah Shahan Shahanah / Shahanux Eriset / Alikamor Raoar / Dezexaar Anazaxaar Ilunaxaar / Ilusia Ilusor Maghtar / Praweda Korozmo / Atulat Venis Galdor / Nexeraxo Korson Hakoi Meleh / Nahur Astardot Asteraton / Nuarsar Fialo Meyho / Urnostur Terrestre Omfalo / Uriaz Teol / Ipsaha Yopsaha / Temaha Goemhihanu / Arimaas Ahrimaas Mahahurmaas
 
Babarizme Eloan Nuhadr / Samur Matraa Falastra / Ahevizme Atemizme / Akurabizme Nofos Toron / Zenod Atemazmas / Sulgivor Yotar / Kabala Avluva / Kabalat Mate / Yalomed Amemor / Ammaron Grozotot /  Eobelo Ebolelo Eblatas / Zaorzeh Kumir Kadalbor / Raia Komande Testereta / kadarvot te Pahs / Sfaira Masthemat / Rima Ismasi Amamrim / Azartan Bodisator / Noxataraz Noxatanas Atas / Hekau Ganihastor Veidur / Bubaris Adahmeth / Nunamnir Ades Tezepta / A ka te Urumea Suryami / Shahash Ururuk Shahur / Urshahash Shahananahash / Solox Rotaha / Arze Kuwet Sahibyas / Jamayet Zemna / Malei Melai Sabata / Amora Suryamis / Melit Irwaza
 
Wolatah Etheriaz / Karis Soteria / Hayaska Amenora / Ederasetra Firnanos / Xaradu Hetfesep / Borobodo Hoxo / Akula Munana / Auwa / Asteramela Deamatis / Stelasardis Zaradoxo / A ka te Nuadro Iho / Lombardis Melaha ta / Almaz te Almsa / Aladia Muar / Taurot Yapatma Otumara Lili ka te / Telai Utlai Mero Leyefeh Eyelo / Tulah Nanila Wolapei Iyeube / Obelai Leobah Arela Mela / Luxaar Luciftismaz / Unu Avnia Exebraga / Nie Fanagor / Aurro Moth Gabaras Vit / Khorsa Adorame / Orbesa Sfaira Ata / Komsaleha Kadame / Ta Uta Mona Tuar / Ta Fortas Maesma / Strashtai Medora Exo / Ainu Oro na / Lamia Parsa At
 
Apida Nunai Melai / Taro Yaunas / Rah Adalvor Astardos / Kastas Khuti Arru / Moroth Iganas Aboronos / Prastaharas Noes Patus / Getes Getonix / Hoori Ahooru / Nutu Anutu Axanutu / Taros Antaros Avantaros / Raos Teratix / Espatas Geon / Aivos Gaidurs / Apides Xandi / Kondotieri Agaris Khuti Parsez / Arii Ranii Bulii Avanii Yurmii / Karaston Akaraston / Enexo Exeraxo / Hartuba Pehat / Naprefasto Urhiel / Bulii Aurro ka te / Aqunar Aderesetret / Axabas Naroxo / Setenehret Dauri / Amnoris Yatax / Adenestro Kavades / Khuti Arru Ozordex / Bulii Afarmabiyel Heka / Aguardas Peretostro Naum / Qabah Sabas
 
Umsn
 
Glasobol – Abaras – Agrenis – Patradar – Sanabal – Lasee – Osoroseptis

Minor Arcana - Three of Disks

Sola Busca deck

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

The star Altair, constellation Aquila (the Eagle), southern height, the airy aspect of Capricorn. According to the Golden Dawn, the astrological attribution of this card is Mars in Capricorn, relating to the second decan of this sign. Translated into the language of Tarot symbolism according to the Golden Dawn key, it is a combination of the Emperor and the Devil cards. Here we recognize the symbols of the cross and the cube/square. Crowley points out that Mars in Capricorn is at its highest point and therefore at its best as a builder rather than a destroyer. He states that this card expresses the material establishment of the universe's idea, or the solidification and determination of its basic form. According to the Golden Dawn, the idea of this card is expressed by its mystical title, "The Lord of Material Works," which can be summarized as work itself. These are three interlinked disks. According to the teachings of this Order, this card is interpreted as creative work, building, constructing, erecting, and even commercial exchange. Picatrix describes the third decan of Capricorn mystically, as the expression of seeking something that cannot be known or reached, depicted by the image of two women and a man watching a bird fly away.

The constellation Aquila (the Eagle) belongs to the second decan of Capricorn, with its brightest star Altair possibly representing the stellar counterpart of the Three of Disks. This is the eagle from the shields of the ruling pair of the major arcana, the Emperor and the Empress. In the case of the Emperor, the eagle expresses the idea of royal dignity, adding a jovial aspect to the Emperor’s martial nature. The name of the star Altair in Arabic means "the wounded." Altair is a pale-yellow star located on the neck of the Eagle. According to Ptolemy, its influence is similar to that of Mars and Jupiter: fearlessness, reliability, bravery, liberality, ambition, but also rigidity. The wounded eagle also points to Christ, and in principle, to the God of the Bible. Furthermore, the eagle is sometimes identified with the creator or originator. The idea of the eagle also indicates far-sightedness and the ability to foresee the ultimate results and outcomes of an endeavor or event. This is a very useful ability in entrepreneurship and any undertaking and is certainly related to the idea of this card. Moreover, the eagle is associated with the representation of a ruler’s funeral, so if the Two of Disks signifies an assassination, then the Three of Disks is its funeral. In the negative sense of its mythological content, this card could represent a torturer, as it was this eagle that was assigned to peck at Prometheus' liver every day while he was chained to a rock.

According to Ptolemy, the influence of the Eagle is mixed, being of the nature of Mars and Jupiter: imagination, will, dominant character, influence, strong passions, sharp mind, clairvoyance, and talent for (al)chemistry. According to Oswald Wirth, this constellation is associated with the Lovers arcana. If the previous card, in its negative sense, represents the movement of rolling blind forces, the Three of Disks expresses the suffering and destruction these forces cause in the next step.

Minor Arcana - Two of Disks

Sola Busca deck

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

The star Sham, in the constellation Sagitta (the Arrow), southwestern height, fiery aspect of Capricorn. Astrological attribution of this card, according to the Golden Dawn, is Jupiter in Capricorn, relating to the first decan of this sign. The Two of Disks is, also according to the Golden Dawn, harmonious change, transformation, travel, or the harmony of change (Lord of Harmonious Change). It can be said that the card represents the engine of the world's machine. The circle that turns now has two heads, forming a binary system, sufficient for the complexity of the overall motion process. The Two of Disks, by analogy, is even more closely connected to the idea of the Wheel of Fortune card. Symbolically, Jupiter in Capricorn represents the Wheel of Fortune and the Devil, the circle and the square, the sphere and the cube: "the harmonious interweaving of the four elements in constant motion" (Crowley).

The Two of Disks expresses the nature of the constellation Sagitta / the Arrow, which stands in relation to Capricorn. It is as if we were to draw a straight line in the clear night sky connecting the brightest star of Capricorn—Algedi—and the brightest star of Sagitta—Sham. In a narrower sense, the Two of Disks could be identified with the star Sham in the sky. According to Picatrix, the first decan of Capricorn instructs us to move forward with joy, depicted by figures of a woman and a man dragging full sacks. In a mythological sense, the constellation Sagitta relates to the arrow with which Hercules struck the Eagle (the constellation Aquila) that was pecking at the liver of the chained Prometheus. If we transfer that meaning to the Two of Disks, we conclude that this card could symbolize the end of suffering or some unfavorable process and represents the tool of action of a liberating force that brings relief—Jupiter rescuing the afflicted from the clutches of Saturn. Therefore, it is about the action of divine justice. Similarly, the arrow indicates the mechanism of time, a sudden and swift strike, penetration, attack, assassination, killing or removal of a tyrant, initiative, liberating judgment, fall of repression, and emancipation, an act of independence, sudden reversal, generally movement, which ultimately aligns with the idea of this card according to the interpretation of the Golden Dawn and Aleister Crowley. I would compare the effect of this card to throwing a stone from the top of a mountain or a snowball that triggers an avalanche. This detail can also be compared to the stone from David's sling that killed the mighty Goliath. In a negative meaning, the Two of Disks can express the idea of the initial motion of a rolling blind force that rushes and destroys everything in its path.

Sagitta and Capricorn indicate the high-altitude, fiery aspect of the earth element, a volcanic mountain, hence the two rotating disks can depict the fundamental drive of Sauron's Orcs' hellish industry. Also, in light of the fact that the arrow is Cupid's weapon, the two large millstones can be considered the initial drive of events that can give rise to great love. Finally, keep in mind the image of the Eagle holding the Arrow in its talons, which represents a symbol of power, again leading us to associations with the powerful Jupiter whose bird is the eagle. In a biblical context, it is the arrow of salvation, or in the sense of God's intervention against enemies, God who delivers from the hands of the enemy, etc. According to Ptolemy, this constellation has the nature of Saturn, and somewhat of Venus: sharp intellect, ability for abstract thinking, but also irritability, jealousy, danger of injury.

The Minor Arcana - Ace of Disks

Ace of Disks / Sola Busca Tarot

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

We will begin considering the doctrines of the minor arcana with the disks, which traditionally signify the virtue of prudence, connecting them to the Hermit arcana. As noted by Paul Huson, disks are mirrors. They are polished, made of precious metal, and thus have reflective properties, giving them a lunar nature. Being circular, they take the form of wheels, indicating the constant operation of this virtue, the dialectic of both intellectual and material processes. Disks are workers. Therefore, they are associated with the earth element and denote economic, business, financial matters, as well as calculation, memory, and foresight. Occultists have called disks pentacles, a term referring to the pentagram, but in the sense of a talisman or amulet. In a magical sense, these pentacles represent the work of elementals, particularly gnomes, and the process of achieving a magical intention.

According to the teachings of the Golden Dawn, this card represents the root of chthonic powers. Generally, aces are sources or roots of the elements. They serve as a link between the minor arcana and the Princesses or Pages. In a Kabbalistic sense, aces correspond to the idea of the first sephirah of the Tree of Life—Keter. According to the Golden Dawn, this card can indicate material gain, any kind of plan or project, and finally, a vision of wealth or acquisition. The Bolognese cartomancer Pratesi from the 18th century interpreted the Ace of Disks as a table. Whether it is a desk, a writing board, or a platform, I don't have enough information, but it is worth mentioning that a table appears on the Magician card. Thus, if we follow Pratesi, the Ace of Disks is a kind of table or platform for play, exchange, operation, event creation, divination, constellation, etc. In a way, this card can also be connected to the fatality of the Wheel of Fortune. It is a great rotating circle. Perhaps it is a roulette wheel in a casino. Maybe Pratesi's table is actually a gambling table.

According to Aleister Crowley, the disk is a whirling sign. However, a table or disk can be a polished shiny object, a plate, or a golden tray used for reflection. It is precisely this shine of a perfectly polished disk where we can find the mythological content that, in terms of the earth element, according to the theory of Hermetic Kabbalah of the Golden Dawn, has its correspondence in the figure of the archangel Uriel (which translates from Hebrew as "God is my light" or "God's light"). He is gold. His direction is north (Job, 37:22). In Hebrew, his name is written with the following letters: aleph-vav-resh-yod-alef-lamed, or AVRIAL, and has the value of 248. Thus, Uriel is the archangel and guardian of the Earth element, and some identify him with Lucifer as the light-bringer. In this sense, Uriel is also the guide of light, connecting him with astronomy and astrology. In the Book of Enoch, he is mentioned as the knower of stars and their paths and as the guide of heavenly lights. In the Greek version of the Book of Enoch, Uriel is placed over Tartarus, where the fallen angels (fallen stars) are cast. In some apocrypha, he is the light followed by those who have resurrected and also appears as the opener of the gates of Hades who leads the dead to judgment. These are all forms of his chthonic role, connecting the Underworld and the night sky. Ultimately, Uriel is the one who reveals things, whether it be something hidden or uncovering a secret to those who deserve it. In this role, Uriel plays the part of the one who grants enlightenment.

Sources of the Minor Arcana Doctrine

Luca della Robbia

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

In searching for the origins of tarot, I noticed that many authors trace the origins of the Minor Arcana to the so-called Mamluk deck, which came to Europe in the 14th century. Ronald Decker and Michael Dummett, in their book A History of the Occult Tarot, posited that the origins of the symbols of the Minor Arcana can be found in the heraldry of the Egyptian Mamluk Sultanate. However, author Paul Huson went a step further, suggesting Sufi and Persian origins for the basic symbols and structure of the cards, which, among other things, reflect the class hierarchy of ancient Iran. Nevertheless, to avoid getting lost in the ancient past of the Middle East, for the purpose of this book, I would use Huson's reference located in a closer space-time frame. He mentioned the Chapel of St. James in the Florentine church of San Miniato al Monte, whose vault was decorated by the 15th-century Florentine artist Luca della Robbia. On the vault are depicted the four cardinal virtues in the form of four angels, each carrying an object that represents its nature. Thus, Prudence carries a mirror and holds a snake; Temperance carries a cup; Fortitude has a staff; Justice carries a sword. The hierarchical order of the cardinal virtues considered by Plato is precisely such. The main virtue is Prudence, without which it is impossible to develop other virtues, leading up to Justice. This depiction is certainly indicative for our purposes, and in it, we can unequivocally recognize what interests us: Prudence = Hermit = disks/coins or polished plates; Temperance = Temperance = cups; Fortitude (Courage) = Fortitude = staffs; Justice = Justice = swords. Now we can already infer that the disks tell the story of the rise and fall of Prudence, the cups of Temperance, and so on. This story is most evident in the Sola Busca tarot, which does not follow the Eastern impersonal and geometric pattern similar to dominoes or geomantic figures. In fact, the Sola Busca deck, although it has 78 cards like standard tarots, is entirely hermetic and pagan, but that is a separate story.

In the Kabbalistic theory of tarot, followed by modern occult schools, the disks are at the bottom of the fourfold hierarchy as they represent the material world of Assiah, the realm of mixed and dense elements. Their plane of action is denoted by the Hebrew letter he, the last letter of the Tetragrammaton (yod-he-vav-he). Swords are next in this hierarchy, representing the world of Yetzirah, the element of air, and are denoted by the letter vav. Above them are the cups: the repeated letter he, the element of water, the world of Briah. At the top are the wands: the letter yod, fire, Atziluth. No matter how we align them, we cannot deny the five-layer structure of the tarot, consisting of four hierarchies of fourteen minor arcana each, representing one cardinal virtue (or Kabbalistic dimension), while the fifth hierarchy is made up of the major arcana.

In the Kabbalistic sense, interpreting the meaning of each minor card at first glance seems simple. For example, the Seven of Cups is the sefira Netzach in Briah, so we just need to look up what lies at that level in the fifty-decade Kabbalistic cosmological scheme. Immediately, we discover that it involves the archangel Haniel. But then, what do we do with that information? How can we know what exactly Haniel signifies and how it relates to the depiction of seven cups? We cannot truly know until we summon Haniel and ask him what we want to know. However, that isn't simple, so in such cases, we rely on general representations and hints about who and what Haniel is. Facing the enigma of Haniel and the infinity of his metaphysics, we realize it is more practical and prudent to follow the pattern of variations of the virtue and find out what happens with temperance when we project it into the number 7. The Sola Busca card Seven of Cups depicts a harmonious structure of cups firmly planted on a quadrangular base. The figure dominating this card is a naked young man in his full strength, so if that is Haniel, we must acknowledge that he is handsome, giving this card a positive tone. 

Table 3. Correspondences of four classes of minor arcana according to Eliphas Levi

Sign	Cherub	Zodiac	Element	Essence	YHVH
Wand	Lion	Lion	Fire	Sulfur	Yod
Cups	Man	Aquarius	Water	Mercury	He
Swords	Eagle	Scorpio	Air	Azoth	Vav
Disks	Bull	Taurus	Earth	Salt	He

Occultists have taken it a step further, as the Kabbalistic identification of cards is obviously not sufficient to serve the purpose. Paul Christian linked thirty-six minor arcana cards (excluding the aces) with thirty-six astrological decans. Similarly, MacGregor Mathers created a complex astrological scheme in which our Seven of Cups represents Venus in Scorpio, interpreted as illusory success. Each of these thirty-six minor arcana cards was assigned two Kabbalistic angelic entities of the Shemhamphorasch by occultists, each covering five degrees of the zodiacal circle (or one being a daytime and the other a nighttime angel). The Shemhamphorasch is the divided name of God, hidden in the biblical Book of Exodus 14:19, 20, 21. In Hebrew, each of these three verses consists of seventy-two letters (a total of 216, which is a solar number). If we write these three verses one above the other, the first line from right to left, the second from left to right, and the third again from right to left, we get seventy-two columns, each containing three letters. These three letters form one name to which we add the suffix el (aleph-lamed) or yah (yod-he) depending on whether it is a male or female entity. Each name has its angel with whom one can communicate in a special way using talismans. Each angel has its own specific specialty and jurisdiction. Additionally, there is a corresponding system of seventy-two demons that King Solomon supposedly summoned and bound. Occult-Kabbalistic speculation has gone further, connecting the court cards with invisible paths on the Kabbalistic diagram of the Tree of Life. These paths are invisible because they connect the sephirot that the arrangement of the twenty-two paths does not link. Thus, the entire tarot system can be embedded in the Tree of Life. This way, tarot has been Kabbalized, and Kabbalah has been tarotized.

Frances A. Yates, in her book The Art of Memory, mentions that the mnemonic technique of the philosopher Metrodorus of Scepsis (145 BCE – 70 BCE) was based on zodiacal signs. He connected memory with the stars. Metrodorus found or invented three hundred and sixty different places within the twelve zodiac signs and thirty-six decans. This allowed him to imaginatively move through the celestial sphere containing a total of four hundred and eight figures and use them for various mnemonic acrobatics. In Agrippa’s Second Book of Occult Philosophy, Chapter 37 is dedicated to describing thirty-six images that symbolize the nature and meaning of the astrological decans, supposedly of Babylonian origin and transmitted through the Arabs. These images, in their expression, facilitate the memory and interpretation of astrological principles, much like tarot arcana. Therefore, they represent a true astrological tarot, being entirely in the service of astrology and astromagic. I will not present each of them here, but only some that I have noticed have certain similarities with the appearance and interpretations of tarot cards.

For example, the description of the second decan of Aries depicts a powerful woman dressed in red (with a white interior), associated with the idea of domination and authority, reminding us of the Empress card. In the Arabic manual of talismanic astromagic, the Picatrix, this woman is dressed in green. Immediately following is the third decan of Aries, embodied by a male figure in a red robe. He wears a gold bracelet on one arm and holds a staff in the other, interpreted as restlessness due to the inability to achieve his ambitions. Here, we recognize the Emperor in a state of political impotence. In the Indian version of the first decan of Taurus, a farmer appears, as in Agrippa, but here the image also includes a book, while the second decan of Taurus in Agrippa's work features a key. Both the key and the book are symbols sometimes present on the High Priestess card. In the first decan of Leo, we see a man riding the beast, strongly reminiscent of the Strength card, particularly in Crowley's rendition, though in most tarots, it is a woman in relation to the lion. In the third decan of Virgo, we have an old man leaning on a staff, similar to the Misero card from the Mantegna Tarocchi or the Hermit. The first decan of Libra includes, among other things, a man reading a book, again recalling the High Priestess. The second decan of Libra depicts two furious and quarrelsome figures, above whom a third, well-dressed man sits on a chair, reminiscent of the motif of the Devil card. The second decan of Scorpio depicts a scene structurally similar to the Moon card: we see naked man and woman, and a man sitting on the ground, above whom two dogs are biting each other. On the Moon card, instead of the naked man and woman, we have two towers, and instead of the seated man, a figure of a crab. The third decan of Sagittarius shows an idle man playing with a stick, reminiscent of the Fool or Magician. The first decan of Pisces shows a man with a load on his back, but well-dressed, interpreted as a traveler, which connects this motif to the Fool card in the sense of a wanderer. The third decan of Pisces depicts two beautiful newlyweds, bearing a resemblance to the Lovers card.

I won't elaborate on theories here, but I must emphasize the significance of old astrological and astronomical iconography as one of the major sources of imaginative motifs for creating tarot images. In principle, asterism (a term I am using here outside of its usual sense) represents one of the powerful sources of imaginative images, given that humanity has always observed the starry sky, identified constellations and the regularities of celestial bodies, and shaped their abstraction into imaginative pictures connected with mythological facts. Thus, the ancient people encased their wisdom in the stars.

For the magical images that influenced Agrippa and, through Agrippa, the imagination of Giordano Bruno, Frances A. Yates states that they originate from ancient Egyptian teachings on stars and astral magic. She explains that Bruno, like Ficino, thinks in ways that are almost inaccessible to modern man. According to this worldview, imaginative images of stars are intermediaries between ideas in the supramundane world and the sublunary elemental world. By arranging, manipulating, or using star images, we handle forms that are one step closer to reality than objects in the world, although all are subject to stellar influences. The lower world can be influenced by changing stellar influences only if we know how to arrange and handle the images of the stars. In fact, the images of the stars are "shadows of ideas," shadows of reality that are closer to reality than physical shadows in the lower world. This is how Frances Yates interprets it. Furthermore, by imprinting imaginative images of higher forces into memory, we will understand lower things from a higher perspective. Also, lower things will be ordered in memory once we have arranged the images of higher things in it, which in a higher form contain the reality of lower things, a form that is closer to the ultimate reality. Keep this in mind when you open your tarot deck.

Aligning oneself with these astral images in imagination is one of the key aspects of magical work. Ultimately, Yates paraphrases Giordano Bruno, who says that different types of memory images have varying degrees of power, as not all images are equally close to reality. Those with the highest degree of power and that obscure reality the least, Bruno calls sigils. Sigils are used in memory systems of the occult art of memory as well as in specific magical operations. I am deeply convinced that the design of the minor arcana, although impersonal, represents an abstract variant of the concrete imaginative star images, similar to those described by Agrippa. Like geomancy or dominoes, they completely simplify the more complex imaginative forms originating from the ancient astro-magical imaginary. These images, in a less abstract form, are also expressed in the images of the major arcana of the tarot. Therefore, it is in these star sigils that one should seek the true sources of the tarot. At the same time, these sigils are also forms of encoding alchemical paradigms. To this end, it would be necessary to explore the connection between alchemy and astrology in the context of the genesis of the tarot, but this is currently beyond my expertise.

The Six Principles of Hermeticism

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

At the end of this chapter, I would like to mention the six principles of Hermeticism embedded in the worldview of those who founded the occult ideology of the tarot:
1) The world is a living being, and everything within it possesses a soul, which is essentially an animistic viewpoint;
2) Imagination holds fundamental importance in understanding the world and communicating with its living soul;
3) The theory of correspondences, that is, the significance of understanding the interconnectedness of things and phenomena;
4) The theory of transmutation, or the developmental change of everything, which, over time, improves its nature, i.e., evolves;
5) Perennial philosophy, the belief that all cultures and traditions share common characteristics and patterns as well as the same longing for mystical experience. This reflects the belief that all cultures and religions originate from the same source in some indefinite time in the past that we can label as the Golden Age;
6) Spiritual truth is transmitted through initiation.

Assumptions of the Occult Ideology of Tarot – The French School

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

In this section, I will attempt to shed more light on how the ideology of tarot developed. If we consider Milan of the 14th century as the epicenter of tarot, we can more or less infer its spread across Europe. In short, from Milan, tarot spread further across northern Italy and the rest of the country, then crossed the Alps to Switzerland and France during the 16th century, perhaps even earlier. Along the way, it took on various forms, generally following a common pattern. There was nothing esoteric about this entire process. The Marseille deck became the standard for French and Swiss tarot makers by the late 17th and early 18th centuries, with the pattern they followed possibly originating as early as the beginning of the 17th century. This template was also followed by tarot makers in Germany, Austria, and even Italy itself. This provided the standard raw material or semi-finished product into which later occultism would imprint its insignia, thus creating the occult tarot, which would primarily be interpreted through Kabbalistic and astrological lenses. This process began in France during the second half of the 18th century, when the Age of Enlightenment was already entering its late phase. Alongside the rise of rationality, the spirit of the modern age sought a substitute for lost religiosity, searching for sources that would compensate for this loss, whether from spatially or temporally distant cultures.

Mircea Eliade, in his book Mephistopheles and Androgyne, noted that it is unlikely Western thought will continue to exist in isolation. Eliade emphasizes that the modern era differs from those preceding it in that it is characterized by confrontation with foreign, unusual, exotic, or archaic ideological and cultural worlds. The discoveries of depth psychology, as well as the arrival of non-European ethnic groups on the horizon of History, truly signify the encroachment of the "unknown" into the field of Western consciousness, which was previously closed to them. Such an orientation reflects a changed worldview. Regarding this change, Eliade states that the astronomical and geographical discoveries of the Renaissance did not only completely alter the image of the universe and the concept of space. Among other things, these discoveries ensured, for at least three subsequent centuries, the scientific, economic, and political dominance of the West, while simultaneously paving the way towards the inevitable unity of the world.

Ancient Egypt, in this sense, is the closest non-European, yet one of the most temporally distant models, which is why the Enlightenment-era France's fascination with this culture is not surprising. After all, Egypt had long been recognized as the source of Hermetic wisdom and alchemy, and the still undeciphered Egyptian hieroglyphs posed a special challenge. Nonetheless, this did not hinder French occultists from incorporating Egyptian symbols and presumed mythological, magical, and religious content into their schemes, including tarot. At that time, Europe also discovered the wisdom of India. India attracted the following significant European intellectuals: Giambattista Vico (1668–1744), Constantine Francis de Volney (1757–1820), Richard Payne Knight (1750–1824), Godfrey Higgins (1772–1833), and Sir William Jones (1746–1794) – a pioneer in the study of Sanskrit in the West. This led European intellectuals to compare Christianity with other religions, searching for similarities and parallels. Consequently, elements of Indian culture became part of occult schemes in Europe. This development occurred alongside the growing popularity and spread of Freemasonry, which, in the eyes of many, provided an adequate substitute for ecclesiastical religiosity and sociality. The Scotsman Andrew Michael Ramsay (1686–1743) was the first to suggest that Freemasonry came into the Christian world from the Middle East, embodied in Europe in the form of the Knights Templar. Additionally, syncretic Masonic symbolism was entirely in harmony with the spiritual and intellectual currents of the time, creating fertile ground for the flourishing of enlightened occultism, which attracted literate, independent, and free-thinking individuals from all social strata. Egyptomania and Freemasonry went hand in hand.

During that time, several significant figures emerged. Among them was the French writer, priest, and member of the French Academy, Jean Terrasson (1670–1750). His most famous work is the fantastical novel Sethos: histoire ou vie, tirée des monumens anecdotes de l'ancienne Egypte, traduite d'un manuscrit grec (1731), which inspired Mozart's The Magic Flute. Friedrich von Köppen (1734–1797) and Johann Wilhelm Bernhard von Hymmen (1725–1786) anonymously published the treatise Crata Repoa in 1778, which describes a fictional but detailed initiation into Egyptian mysteries, containing seven rites (performed in crypts, secret chambers, and caves). Shortly after, in 1784, the famous Count Cagliostro (Alessandro di Cagliostro, also known as Giuseppe Balsamo, 1743–1795) founded the Egyptian Rite, a Masonic order, whose first body, called the Temple of Isis, operated in Paris. At the very end of this period, we can mention the intriguing figure of Antoine Fabre d'Olivet (1767–1825), a French writer, poet, and composer whose biblical and philosophical hermeneutics influenced notable figures in the occult world such as Eliphas Levi, Papus, and Edouard Schuré. He regarded all religions as fundamentally the same, as their purpose is identical—to unite with God, making them different manifestations of a lost universal primordial tradition. His significant work from 1816, La langue Hebraique Restituee, represents a revitalization of the Hebrew language with a grammar based on Biblical Hebrew.

In that dynamic and colorful spiritual atmosphere, and from his position as a member of the Masonic lodge Les Amis Réunis, Court de Gébelin founded the research lodge Philalethes, which combined Martinism, Swedenborgianism, and other esoteric currents in its work. He was also a member of the famous Parisian lodge Neuf Sœurs, whose members included Voltaire and Benjamin Franklin. De Gébelin's extensive and significant work Le Monde Primitif Analysé et Comparé avec le Monde Moderne (published in nine volumes between 1773 and 1782) expressed the mentality of that era, which aimed to unify all things in the search for the presumed lost unity that supposedly existed in the distant past. The term "primitive" in the title of the encyclopedia indicates something original and fundamental. This aspiration, characteristic of the Enlightenment era, was embodied in the design and interpretations of the tarot, continuing to our time, which has given rise to a plethora of syncretic and highly specific tarots. These modern tarots share a common basic structure but have only distant parallels to the original Renaissance tarots.

Of significance to our topic is the eighth volume of de Gébelin's work from 1781, in which a section is dedicated to the tarot. In this section, he claimed that the cards, primarily used for gaming, were actually of mystical origin and represented the remnants of the ancient Egyptian pictorial Book of Thoth. De Gébelin recognized in the major arcana of the tarot the disguised content of Egyptian religious doctrine. For example, the card of the Popess represented the High Priestess, the Pope was the Hierophant, the Chariot was actually Osiris the Victor, the Devil was Typhon (Set, Osiris's enemy), the Star was the Dog Star, or Sirius, Judgment was Creation, and the World was Time, etc. According to de Gébelin, the minor arcana reflected the classes of Egyptian society. Swords expressed the Egyptian sovereigns and military aristocracy; wands were farmers; cups represented the clergy; and disks were merchants. The Egyptian priests supposedly hid their doctrine in the cards, which they then entrusted to the Gypsies, who were believed at that time to be of Egyptian origin. Thus, the Gypsy tarot was actually Egyptian. Therefore, the secret Egyptian doctrine, disguised in the tarot and entrusted to nomads, survived the ages to be finally uncovered by the inheritors of the Enlightenment's syncretic esoteric ideology in 18th-century France. This viewpoint resulted in the realization of the necessity to alter the symbolism and design of the existing tarot, replacing the Christian symbols and medieval European cultural signs with imagined content that was supposedly Egyptian. However, the "Egyptianization" of the tarot was not sufficient. In the same work, contributor Comte de Mellet linked the major arcana with the letters of the Hebrew alphabet, thereby opening the doors to a grand mythological-astrological-kabbalistic tarot synthesis that emerged in the 19th century, with Eliphas Levi as its protagonist. Additionally, de Mellet divided the major arcana into three groups representing three phases of humanity: from arcana 21 to 15 was the Golden Age, from 14 to 8 the Silver Age, and finally the Iron Age.

At the same time, Etteilla went a step further than de Gébelin. He designed his own tarot deck with the purpose of cartomancy. To recall, Etteilla is the pseudonym used by the French occultist and the first popularizer of the tarot as a divination tool, Jean-Baptiste Alliette (1738–1791). In 1788, he founded a study group called the Society for the Interpretation of the Book of Thoth, whose prominent member was Charles Greille-Saint-Leger de Bonrecueille, a mason and founder of the secret society Temple of the Sun in Lyon in the 1780s, whose members called themselves the Unknown Philosophers, inspired by Louis-Claude de Saint-Martin. According to Etteilla, the tarot was originally created by seventeen Egyptian magi devoted to Hermes Trismegistus approximately 3,953 years before his time, or 171 years after the famous biblical flood. He blamed the distortion of the original tarot design on uninitiated and profane card makers throughout history. One of the innovations he introduced was marking the cards with Arabic numbers instead of Roman numerals, as he considered the Egyptians the inventors of the Zero from which Arabic numerals were derived. In 1770, Etteilla published his first book, in which he described methods of divination using a standard deck of playing cards with four suits. However, he briefly mentions the tarot on the list of divination tools. Since his book preceded the eighth volume of de Gébelin's Monde Primitif, in which the tarot is mentioned, this indicates that divination using the tarot was known in Paris before de Gébelin discovered the tarot as a tool for transmitting ancient knowledge.

Eliphas Levi made an extraordinary contribution to the development of occultism and the occult ideology of the tarot. Among other things, he connected the minor arcana with the sephiroth of the Kabbalistic Tree of Life. The idea to associate Baphomet with the Devil card, as well as sketching that solution, originates from him. However, Levi did not go as far as Etteilla; instead, he focused on the pattern of the Marseille tarot with certain modifications, which apply to the Devil, the Chariot, or the Wheel of Fortune. In fact, Levi was contradictory, as he aimed to reconcile opposites and could simultaneously be progressive and conservative, a good Catholic and an occultist. In the meantime, he became a legend and the progenitor of the occult revival in the second half of the 19th century, influencing both French and British occult circles equally strongly. His significance lies in his success in creating the foundation of a magical system, partially serving as a model for British occultists to establish a coherent theoretical and practical syncretic doctrine, which developed within the Hermetic Order of the Golden Dawn, founded in 1888, where the tarot played a crucial role as a magical tool for ritual, divinatory, and contemplative use.

The realization of Levi's dream of a renewed tarot was attempted by his followers in the world of occultism, founders of the Kabbalistic Order of the Rose-Cross (Ordre Kabbalistique de la Rose-Croix) Stanislas de Guaita, Oswald Wirth, and Papus. Guaita and Wirth created a tarot for divination that contains only the twenty-two major arcana in 1889. It was the hyperactive Papus who did much to popularize occultism, tarot, and Levi himself. Like his predecessors, Papus also believed in the Egyptian origin of the tarot, but he expanded this idea in the manner of the Enlightenment era, attributing universal human prerogatives to the tarot, calling it, among other things, the Book of Adam. This consequently opens the way for further intercultural syncretism through tarot. Papus often cited details from Hinduism and established connections, for example, relating the Christian Trinity: Father, Son, and Holy Spirit to the Egyptian trinity of gods: Osiris, Isis, and Horus, as well as to the Indian Brahma, Vishnu, and Shiva. Characteristic of Papus is also giving three types of meanings to each major arcana: divine in the divine world, then astral in the human world, and physical in the natural world. Thus, in Papus's interpretation, the Magus represents God himself in the divine world, Adam in the human world, and in the natural world, it is the expression of the active universe.

Linear and Non-linear Consciousness

The Wave - Corran Brownlee

This article is taken from my book The Divine Revolution of Catastrophe (The Doctrine of Satanism). If you want to buy this book, you can order it via this e-mail: dorijan.nuaj@gmail.com

One of the delusions that condition our lives is the illusion of Time, which results in our sense/perception and memorization of continuity, that is, the continuity of our individual and collective existence. If we accept this widely spread and powerful, I would say fateful perceptual and cultural deception—though we mostly do—we will inevitably be troubled (unless we have some effective alternative or new illusion) by the source of this continuity, which is interruption. Awareness leads to non-awareness, self to non-self, and something that has a beginning inevitably has an end. Awareness of non-awareness evokes associations with the cessation of consciousness and the subject itself. The origin of linear existence, which starts at point A, is non-existence that occurs upon reaching point B. Linear perception and evaluation of one's own existence as well as the existence of the world in which we are embodied produces a more or less linear constructed memory. The internal mechanism of consciousness organizes the contents of memory chronologically, more or less strictly separating elements of dreams from elements of the so-called waking state. In this process, there is a differentiation of all those contents that do not fit into the constructed image of the world and oneself in it. These interruptions of the linear flow, or discontinuities, are categorized as miracles, fantasies, or hallucinations.

The feeling of déjà vu is a “delay” of daily consciousness in relation to the consciousness of the “ethereal” double of a human being. The consciousness associated with the double is much broader and perceives time/space differently, compressing it into an omnipresent continuity. This omnipresent continuity appears as discontinuity to daily consciousness. Everything we (do not) remember, whether it has happened or will happen, is in some way accessible to the double consciousness. Hence the belief in fate or the possibility of predicting it, as knowledge of it is stored precisely in this dark side of consciousness. The dark side of consciousness is passive but more complete than the daily one, as it contains not only what is inaccessible to daily consciousness but also daily consciousness itself. Daily consciousness contains what it has directly encountered, and sometimes even something that has surfaced from the dark, double consciousness. Additionally, there is an entire class of impressions that we mistakenly perceive, which are destined to be automatically repressed, and when they accidentally resurface, they are attributed to the so-called subconscious. Linear consciousness forms a rigid mental structure and psychological profile that is constrained by culturally imposed boundaries. All this creates the framework of cultural humanity that a young human being adopts under the immense pressure of adults, the community (and today, media), which also determines the framework of experiences, knowledge, and the direction of subsequent “development.” On the other hand, the presumed higher form of consciousness, which we rarely become aware of, stands in a kind of superior position in relation to both the dark consciousness and the daily one. This higher consciousness is the goal of the work and efforts of many mystics and esotericists, while its reflections and crystallizations rarely and spontaneously reach ordinary people but are immediately repressed. In inherited culture, there are no associative patterns of meaning in which such internal phenomena could be framed. 

The belief that humanity evolves throughout its existence on Earth is an ideological perspective, as it interprets reality according to the biological theory that life inherently evolves. Life does develop, that is true, but how do we know that the human being is evolving? Perhaps it has already reached its peak in the distant past, and hence we are now witnessing a degenerative trend. What proponents of this view see as a general condition of the species, natural development, and progress, is actually a rare and individual process of mature consciousness. Only some individuals evolve; the majority of human beings do not. The urban lifestyle has crippled humanity, rendering it incapable of making decisions. I know this claim contradicts the general belief that so-called primitive humans were thoughtless individuals immersed in totemic-animistic communities, and thus not autonomous in their choices and decisions. This perspective appears through the distorted frameworks of prevailing contemporary thinking, but it does not mean that modern humans are fundamentally different from such an image.

Today, instead of the individual or traditional communities, decisions are made by institutions. Individuals choose among the available options, and sometimes not even that much. Democracy is the political expression of this state of consciousness. We choose between TV channels, political parties, presidential candidates, sexual partners, vacation offers, bank loans, religious teachings, and digital packages. This is a mass reduction of people to the level of so-called Pavlovian reflexes, rather than freedom of choice or the embodiment of human free will. It is far from the ideal divine state of humanity with awakened consciousness of its own divinity.

Unfreedom comes from interaction, through the sweet juice of the Tree of Knowledge. Unfreedom tastes like the first suckling of mother's milk. Social manifestations of linear consciousness are reflected in the multitude of constraints that shape our lives and upbringing. These constraints burden the individual psyche as well as interpersonal relationships within society or community. Chains of species, expectations, culture, and socialization, although imposed, are primarily intended to bind from within, through their adaptation and acceptance by the individual. In this way, they more intensely and unscrupulously chafe from within, constraining and limiting the horizons and perspectives of human consciousness.

People's conviction in the uninterrupted linear continuity of their individual and historical intergenerational biological existence reveals or conceals the spectacular and almost schizophrenic fragility of the very foundations of human beings and their perceptions. When we add the traits of fatality, transience, and delusion, the overall impression of the creature called Man is more than catastrophic. Common sense is ready to oppose the view that existence can be achieved in a non-linear manner. On the other hand, in its religious and eschatological projections, the same common sense dreams of eternity, a linear eternity based on non-linear principles.

From the perspective of current vulgar chronocentrism, discontinuity in consciousness and perception, as well as non-linearity in chronology and inconsistency in the origin of memory content, are symptoms of some pathology, "mental disturbance," "madness," "psychosis," "hallucination," and so on, whereas in the past, they were seen as "divine signs," "demonic possession," magical influences, etc. As common sense itself can observe—though it usually notices but does not delve into the investigation or overlooks the ultimate consequences of such causality—any change in perception entails a corresponding alteration in the human form. The greater the discontinuity in consciousness, the more pronounced and visible the physical changes in the person, up to the point where the person might disappear or transform into something else before our eyes! If someone is asleep or in a trance, it is quite obvious. If someone is mad, it can be seen in their gaze, posture, behavior; but if someone is in a completely non-linear state of consciousness, it is impossible to detect from the perspective of linear consciousness. To linear attention, non-linear phenomena either do not exist or are elusive to standard methods.

The pillars and markers of common sense are memory and the impression that we recognize things, events, people, and other living beings around us, as well as the main principles of reality's functioning (and relationships within it). This impression is both a product of and a condition for acquiring a certain security during the exploration and investigation of the world. It is the foundation of our belief that we exist and that the world exists, and we acquire this belief through life experience. It is also a result of stabilizing our attention at a certain level within the bounds set by significant factors during our being’s interaction with the external world. However, despite this, the fact that some people greet us when they see us, that we have spent almost our entire lives with certain people, or that we have memories, mementos, objects, or photographs, is no proof that we existed yesterday, nor that "yesterday" ever existed. A true proof that yesterday existed would mean that we can unequivocally repeat the events of the previous day. This would be an experimental proof by all standards of the scientific method. This method, by definition, includes the possibility that someone else, using the same procedure, would achieve the same result. Can such an experiment be conducted?

Based on various testimonies, memories, and indirect evidence, we believe that yesterday existed (and that we were part of it). Unless something unexpected has occurred, today everything remains in place as it was yesterday (even if it is not so, we have the impression of continuity between today and yesterday). Guided by memory and the impression of continuity of things and events, we accept yesterday and consequently today, and also tomorrow, without any hesitation, believing in our individual and collective temporal continuity. If today is Monday, then yesterday was Sunday, and tomorrow will be Tuesday. We cannot stop the Earth to prove that it is moving. Based on some purely perceptual, technical, or technological indicators, we conclude that the Earth is moving or that the celestial sphere is rotating around it, producing impressions that our culture categorizes as Monday, Tuesday, Wednesday, and so on.

Humans have developed technology to be consistent with millennia of established ways of perceiving and processing sensory impressions. Thus, technology will, to a certain extent, serve that purpose—reflecting back to us the projected image of the universe. Technology has advanced to the point where it has confronted us with nothingness, both the infinitely small and the incomprehensibly vast. We have reached a range of knowledge from subatomic particles to immense phenomena such as galactic clusters or quasars. In both cases, we have faced the concept of infinity. In practical terms, this infinity has no utilitarian value. We cannot practically reach anywhere, but we have faith that we will be able to do so someday. However, who will be able to do that? Which "we"? And what does it have to do with us here and now? It means nothing to us here and now. Through the forces of cultural determinism, we create our collective (and thus individual) cultural and civilizational reality. We believe in what we have created solely based on our perceptual and emotional impressions, on the habits we have formed in relation to it, and on the objects and environments that surround or serve us. If that is the case, then why shouldn’t our linear and continuous existence be just one of many variations and modalities of existence?

The perspectives of the unspeakable horror and the grandeur of cosmic solitude are quite certain. For many people, the mere thought that being alone in the universe as the only being, as the only thing that truly exists, can be disturbing. Despite all possible counterarguments, I insist that this is indeed the truth. Each of us is entirely alone in the entire universe. From this perspective, the universe is hell, but it can also be paradise, or none of those things, depending entirely on ourselves, more precisely on how we handle the fact of cosmic solitude. If seekers of truth are not ready, unwilling, or unable to confront cosmic solitude, complete solitude, then truth is not for them. Many find it unacceptable to claim that the human species is the only intelligent one in the universe. How, then, can one bear the perspective in which some average human being is the sole inhabitant of the universe? It is unbearable if we think of ourselves as individuals with all our daily traits, virtues, and flaws.

Even if the fact of cosmic solitude may not be true, there are at least two moments in life that confirm the cosmic solitude of our being: birth and death. Each of us comes into this world alone and departs alone, each for oneself, regardless of the fact that many other human beings are dying or being born at the same time. This does not affect the stark reality that birth and death are experienced in the most individual manner. No one else can accompany us in those dramatic moments, even if they share the same fate. These two events are fundamental when the world shows its true face. Unfortunately, people mostly forget prenatal and birth experiences, while experiences of dying are usually not reported by anyone, unless it involves a near-death experience, which does not provide a complete picture. In this way, the true face of the world remains hidden from the vast majority of living people, leading us to question what the reasons for such fateful deceit might be.

We are alone in the universe, unique and unrepeatable. We find ourselves in the grasp of an incomprehensible force that intends to obliterate us by subtly leading us to believe that we have a self that is connected to the undeniable fact that we individually and collectively exist. It will make us believe that we exist in a linear and continuous manner, thus leading us to reconcile with the origin of continuity and linearity, which is the end. We will believe that we are truly horrified by cosmic absolute solitude and that our life's drama unfolds according to the laws of Destiny or Chance (or perhaps some hybrid category), in any case, due to the necessity of some higher power to which we ultimately cannot resist. If all this is the result of accepting the stance that we are, then a viable alternative lies in the stance that we are not, nor is anyone else. What makes us to be, indeed, has nothing to do with our ideas about ourselves or others. If we say that we are not, it does not mean that we deny ourselves or any of our properties, but rather signifies that we have taken the first step toward establishing new foundations on which we are, certainly in a different way that transcends our current conditioning.  

Each of us knows in some way that everything we perceive does not always have to appear as it does, nor is the essence of things and phenomena only in what we see or what we have learned through upbringing and education, and thus formed an opinion about. Everything we see has the potential to take on a different configuration or modality. The line between reality and illusion, existence and non-existence, is thin, while many barriers in the realm of existence are almost insurmountable. Consequently, the gap between logical and moral categories, or values, is not so profound. These categories are relative, as they depend on human choice, taste, understanding, mood, fashion, interest, tradition, inertia. Since they are also defined as absolute, these categories are simultaneously extremely relative. In other words: Truth, Lie, Good, Evil, Justice, etc., challenge reality. They do not belong here, and every human effort to make them come to life in reality is futile and inadequate. In our world, there are only their shadows or reflections. Human nature itself does not want them, while paradoxically, people believe that their adherence to these principles is what makes them human rather than beasts. The gap between these opposing principles does not exist in this world, and if it does, it is extremely relative. It is more likely that there is a gap between this world and all these categories and principles together, while the gap between them themselves may be in some other and entirely different world (or it may not exist anywhere). In any case, their world is not this world.