Demonic Channeling and Scrying_ a Guide

Demonic Channeling and Scrying: A Guide by Meredith Sirin - COPYRIGHT 2016 ALL RIGHTS RESERVED

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Beginning This work is written to the Satanic witch. The subject is demonic channeling and scrying. It is divided into the following sections: 1. Statement on Dark Paths 2. The Nature of Channeling 3. The Black Mirror 4. Required Items 5. Stages of Channeling 6. Stages of Manifestation 7. Stages of Visible Manifestation 8. Stages of Audible Manifestation 9. Using Channeled Information All magic is the use of paranormal spiritual power to achieve mental and physical results. Often these results are benefits. Such benefits are numerous and differ from individual to individual. Insight, power, ecstasy—things such as these are most common objects of desire. And, naturally, there are also less common desires. Magical rituals are the methods of achieving desire and this is a book of such means. The path described herein is demonism—beliefs and practices, that is, which center around demons. Demonism, as I describe it, is a form of Satanism. Satanism, properly speaking, is simply an umbrella term for black magic conveyed in a Western, Judeo-Christian context. It is defined by what it opposes. This is its aesthetic. The question I seek to answer is how to contact the demonic and what to do with the contact, once achieved. This manual began with private notes and was later polished, expanded, and altered for public consumption. I began my search initially questioning how it was that ancient spiritual knowledge was received and how humans first learned of methods of spell-casting, evocation and divination. It occurred to me that religious traditions commonly portrayed themselves as receiving their inspiration from a spiritual entity. The spirit usually claimed to be God or a representation thereof. Knowledge was then bestowed along with rituals to perform. This is the model of the Bible, the Qur'an, the Zend 3

Avesta and many other works. In contrast, the demonic literature of the world did not always convey its sources. Why? The story of John Dee and Edward Kelly gave me my initial clue. From there, it was a matter of devising methods to achieve similar results. The Enochian angels made themselves known to Dee through Kelly, giving him an account of their language, nature and import. They also revealed to him new grimoires—a sacred book outlining the magic of various spirits. During the latter part of 2014, my partner and I began a modified replication of John Dee and Edward Kelly's experiments, having grown dissatisfied with our decade-long accomplishments in magic. Our initial experiment centered on the Goetic demon Ose. A black mirror was placed upon Ose's seal and a communal summoning was performed. Ose revealed the following instructions to us, verbatim: "On a black night, the sky overcast, the Moon waning, place burning orchid petals in a ten sided star drawn from ashes. Let my seal be written in wax with an iron nail. Gaze into the mirror and I will disclose." In retrospect, I believe the details given by Ose had no special relevance beyond their symbolic meaning for my partner and I. The flowers were ones I had personally grown and admired. The overcast sky was our preferred weather. The use of a black mirror rather than a crystal ball or other method was also a clear acknowledgment of our preferences and habits. On that night, my partner acted as the channel (or medium) while I performed the ceremony. The seal was written in wet wax and the ashes were used from paper burnt the prior day. The orchid petals—42 in number —were taken from my own garden. Revealed on that night was a method of connecting the mind to an information stream periodically inhabited by demons and other entities. This method will be described in the section entitled "Techniques of Perception". I also include instructions on a more open and free means of communication. The techniques of stillness and dissolution—techniques which ought preface the act of channeling—were already known previously by my partner and I, with the exception of the one that evolves calling the shadow-like demons forth to purposefully—albeit symbolically and temporarily—devour the witch's consciousness piece by 4

piece. As John Dee learned of "angels" never mentioned before, it is in the power of each occultist to make contact with the seething multitudes of light and dark spirits which inhabit reality. This path focuses exclusively upon this line of direct contact, expanding the inner fields by building promiscuous rapport with a multiplicity of as-yet-unknown demons. This book is offered as a way of achieving the same results we achieved and introducing others to this path. As you will read in this book, I present a method whereby the demonic witch achieves communion with new demons and takes direction from them. Though it is written emphatically in many places, I do not insist this way is the only proper way. If it is to be followed, however, I recommend following it to the letter. Paths are many but all require direct action and encounter. This is one such path. Travel it wisely. —Meredith Sirin, 2016

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Statement on Dark Paths Black magic paths are defined as such due to the demonic character of their operations. According to the common metaphysical view, the cosmos is broken into factions engaged in perpetual war: those of the light and those of the dark. Whether or not this is accurate is not our concern. Our aesthetics have placed us among those of the dark. This path, as presented, is both a series of techniques that can be used in any dark path, as well as a path unto itself. For those who are already upon a path, no change is required. They may learn from these techniques as they wish, taking only what is useful and discarding the rest. Still, as I said, within these techniques is a blueprint for a specific dark path. It is rooted in three ideals. They are: 1. Expansion 2. Experimentation 3. Experience The first ideal, expansion, begins and ends in a sense of freedom. The witch on this path does not confine herself to tradition. She goes beyond it. Every tradition—including this path—is a form of confinement. It establishes a set of disciplines which strengthen the character and focus the power of their adepts. Such confinement is necessary for achieving a concentrated and fearless personality, but once this personality has been achieved, the confinement must end. After confinement ends, expansion begins. The second ideal is the constant progress of technique and discovery. The witch on this path does not rest upon having found success, but continues to push herself further into the dark. She takes it upon herself to not only record the grimoires and spells she is given in channeling, but also to put them into practice. In lieu of a schedule, she establishes certain frequent practices and disciplines, making an at least a monthly attempt to uncover something new or to perform a newly revealed rite. Her path of experimentation is unending —she would not wish it to end even if an end were in sight. Infinitely bright and infinitely dark, there is always something new. It is given to the witch on this path to see all that the path may unveil, no matter its beauty, no matter its horror. And it does not cease in this life. The third ideal places emphasis always on experience over tradition. If tradition has value, it is as a gateway to experience. The witch on this path 6

learns and sees—she does not believe. This path is one of continually subjecting oneself to the experience of the demonic, testing its information by experiment in the laboratory of experience, widening the horizons of the soul. Nothing is left to trust—all is known or unknown and there is no "believe." Taken together, these constitute the ethos of this path, if a witch should desire to follow it. But, as I said, the techniques here can be used by all. My espousal of these ideals should not be taken as a critique of others. As you will see, any path may benefit from them.

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The Nature of Channeling Channeling is the reception of information from a spiritual entity. Demonic channeling focuses exclusively on demons—darker entities, embodying the night-side of reality. Channeling is commonly of three types: Audible Visible Conceptual/impressional There is a fourth which resembles lucid dreaming or astral projection which, for the time being, will receive no comment. In an audible channeling the demon communicates either through the replication of audible events or through controlled thoughts. Humans think in the language they speak and thoughts therefore resemble spoken language as heard. The witch in this instance either hears the demon's words spoken aloud or perceives them as telepathic thoughts communicated to the mind. This is the primary means in which grimoires and spells are conveyed. The preferred way of recording channeled audible information is to recite it aloud for a recording device, later transcribing it. Of these, that which is heard through a physically audible event is preferable to what is heard in the form of thought. Visible channeling is what either appears upon the black mirror's surface or within the inner eye. This is also known as scrying. The demon conveys itself through imagery in this instance, showing itself and its communications through the medium of images. These may occasionally relate to what is audibly channeled or may be communicated independently. I advocate the use of a scrying mirror above that of what appears within the inner eye, however, for the imagination is given to frequent falseelaborations and delusions. What appears physically is less likely to be superimposed and false, for a physical appearance draws its power from the demon rather than the witch. The same principle applies for audible channeling. Conceptual/impressional channeling is of potentially far wider scope than 8

the initial two. Anything that is not defined in audible or visible form is covered in this heading. Commonly it is emotional sensations, though other things may also be conveyed. These concepts and impressions also must be spoken aloud for the recording.

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The Black Mirror A black mirror is used as the midnight symbol, allowing for the demon to visually manifest upon its dark surface. It is akin to the black sea upon which the moon's light reflects. It is acceptable to use another method if the witch already has affinity for, say, a crystal ball. The black mirror has the benefit of aesthetically conforming to this path as well as allowing for images to be seen clearly and distinctly, allowing them to be easily drawn for later use. To construct such a mirror, a simple upright photo-frame of suitable size can be purchased, or any other blank surface which can be stood upright without too much difficulty. It should be large enough to allow for detailed images to arise upon its surface but not so large that it is unwieldy If it is a photoframe, the glass should be removed and black canvas or velvet must be placed over where the photo would go. If such cannot be procured, it may be painted black. The blackness should be thorough, however, with no seams, indentations or blemishes. It should appear as black as a starless midnight sky, or staring into a deep and lightless grave—an absence of all light. Some teach that the black mirror ought to be specially consecrated and empowered through various rituals. I have never found this to be necessary.

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Required Items Aside from the black mirror, only three other items are required for this method of Demonic channeling: An audio recorder A pad of unlined paper A pen The audio recorder easily allows for the witch to state what she has heard from the demon, as well as document her impressions. Later she will transcribe them. This is how the text of the grimoires is recorded for later use, among other things. It is also possible for paranormal sounds to appear upon the audio recorder which were not heard initially. These rarely have any importance beyond an indication of paranormal activity, however, and though they may confirm for the witch the depth of her power or the presence of the demon, such odd sounds are of mild interest and by no means central to this method. The pen and paper are used to etch any images seen in the black mirror, including the seals of the grimoire. There should be lighting suitable for drawing, of course, though not so bright as to ruin the ambiance of the scrying session. The pen and pad are ideally used for no other purpose, the paper being unlined for aesthetic purposes. Lined paper can be used if it is all that is available, though I do not recommend it. Drawing materials are not required if the session is purely audible, of course. As you can tell, all such instruments are present for purposes of recording the demonic communications. Other ritual items are not necessary for this method.

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Stages of Channeling My technique of demonic channeling has four stages: 1. Stillness 2. Dissolution 3. Presence 4. Manifestation Stillness is the process of the body and mind achieving a state of motionless silence. This is accomplished by sitting in a set and comfortable posture in darkness for a long period of time. For some, certain music may prove to reduce the length of the practice. Nothing must be seen, however, for when images are absent, stillness dawns. Dissolution is the small death of the ego. When all is still, the sense of self warps, contorts and fades out. There is no "I" and, therefore, no psychic censor. A place must be made for the demon to enter—a barren, blank space within oneself. The demonic witch, seeing her body and mind growing calm, then abandons her lower sensory powers and perceives directly through her higher intuitive faculties. At this point, though, she has only lessened herself, becoming a void. The void remains as yet unfilled. Presence is the intuitive apprehension of the demon's proximity. The demon arrives non-physically, conveying itself to the witch through intuitive perception. It is not the witch's aptitude for paranormal consciousness which allows her a sight of the demon's presence, however: it is the demon itself who overwhelms the witch with its presence. She then sees and knows. The sense of the common world drifts away and she beholds the demonic. Manifestation is the communication of the demon to the channeler. It is the content or media of what the demon wishes to speak. This occurs audibly, as I have said, or visually. It can also be communicated to the other senses, though instructions are chiefly communicated through word and image. Anything that one can experience may potentially be communicated, however. These four stages reach their maximum or final goal in manifestation, though 12

there is an optional fifth stage: transformation. This is where the demon alters the witch's personality in either a permanent or temporary way. It is a subject that does not lend itself to writing, though, and must be experienced to be understood. The trajectory of the witch's progress in these can be swift—with all occurring in a single night of ritual—or slow. Persistence is crucial. If no progress is met with, daily practices of stillness and dissolution are required. Then—perhaps even without instigation—the presence will be felt. And, after this, manifestation occurs naturally and spontaneously.

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Techniques of Stillness Stillness is the silencing or bringing to an end of motion. To properly channel, the witch must achieve a state of inner stillness. If her consciousness contains too great a degree of presence and activity, there is no room for the demon to manifest. Space must be made for it. If not, the witch will be left to her own voice and the act of channeling will only be delusive. The witch will know she has reached a place of stillness when her thoughts are slow to arrive and easily banished. As stillness is the silencing of motion, there are as many techniques of achieving stillness as there are motions, but the following three ought to be sufficient for most purposes: Breath counting down or up Barbarous word chant Pure isolation In the first, the witch sits in the twilit darkness and counts her inhalations and exhalations upward to 100 and notes her degree of calm. If more stillness is required, she counts downward from 100 to 1, repeating the flow of upward and downward until she arrives at stillness. The second is the chanting of a barbarous word or "word of power". There are many of these to choose from and I cannot make any perfect recommendations. I will say this, however: if ever she receives a barbarous word from channeling, this word will be the most effective. It is simply repeated on both the inhalation and exhalation, eyes closed, until the sufficient degree of stillness dawns. The third of these is the most extreme but also the most powerful. Here the witch withdraws into a dark room, where all light is absent, and sits motionlessly for hours. If she must exit for any reason she is quick to return. During this time, nothing is done—no chanting of a barbarous word, no counting of breaths. Her thoughts will race and she may be introduced to new places of fear and insanity by this practice, but if she can remain steady and commit to it there will come a point when all motion is swept away, revealing a place of total stillness in body and mind. The power of intensity of this practice is also its danger, and it is easy to fall into a unrecoverable 14

void if she is not careful. Nonetheless, any who wish to receive it should do so. The danger, though great, is worth the rewards. The witch cannot stop at stillness alone, however. She must also learn to dissolve herself. The self can persist even in states of deep stillness, just as heat remains in the pyre through smoldering though the flames have all died down. Upon reaching stillness, the witch must further herself and blot out the mind entirely—a conscious erasure, where awareness remains but the sense of self has gone out and dissolved. It is true that channeling may be accurately conducted without such a dissolution, but it is very easy to fall into delusion if the self has not yet experienced a temporary death. For the demon to speak truly, all other voices must be silenced.

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Techniques of Dissolution For some, dissolution may occur spontaneously, though such is comparatively rare. The more common occurrence is for a witch to purposefully instigate such a dissolution through effort, and the effort need not be especially dramatic if stillness has indeed been achieved. A simple gesture may suffice. The presence of the self is an act of will and its dissolution is also an act of will—the will, that is, to death. If the witch has cultivated a sharp sense of deathly aesthetics, she need only apply them to herself. Then she enters her midnight—a place where she neither sees nor knows. The simplest way to do this is to observe the sense of self then imagine its total dissolution. In her palace of stillness, the witch directs her mind's eye to her ego and identity then wills them to depart. And they do so. A still heart is a commanding heart and few things within us have the capacity to disobey when the heart is still. She beholds herself disappearing and stands in ecstasy, separate and distinct from herself as if she were a detached eye beholding the empty space of her former self. Then she is free in her dissolution and prepared for the communications of her demon. A more complex but occasionally more effective way is to direct a philosophical criticism against her sense of self, laying it bare before the eye of insight. Our sense of self is always bound by certain definitions. We say "this is I" and "this is not I", dividing the mind, body, world and soul into their respect spheres. Though perhaps necessary for survival, it is by no means necessary for works of magic. To collapse these divisions, the witch asks forcefully, "Who am I now?" She looks to her body and sees it as composed of parts. If the parts are divided, does her body remain? Certainly not. Therefore the body is not the self. She looks to her mind and sees that there, too, rests a mere arrangement of parts. There is memory, reason, emotion, the logical faculties, the imagination and so forth. Each part can be isolated and divided from the rest. What, then, is left? Nothing. It is all composition and arrangement. It functions as one but is not a unity. It is not truly there—not in the way it is supposed. If the witch is sufficiently concentrated and still, these philosophical criticisms will lead to the self's dissolution. There is a more effective way, also. To perform it, the witch must have 16

perceived the visible form of certain demons. These are quite common: those who appear as black shadows—their forms mimicking humans or animals. When these are perceived visually, they will appear once called. No formal rites are necessary. The witch summons them to her circle when she wishes to see herself dissolve, then bids them to devour her identity piece by piece. Passively she sits, stands or lays, feeling the boundaries of her "I am" drift and disperse. In time she finds herself plunged into the darkening sea, at which point a torrent of magical power will soon rise in the form of shattering silver light. This final method is only accomplished in the presence of such demons and according to the methods known to me. But, nonetheless, it is certain that new techniques will be given to any who channel effectively. And , once given, these techniques must be followed. Some Satanists will no doubt balk at the idea that the self ought to be erased in such a manner, claiming it is a Judeo-Christian concept and quite damaging. Many forms of Satanism are devoted to the precise opposite: arrogating the self, rising in pride, encouraging the ego's gratification. To this I respond that it is foolish to suppose that anything which can be so abased was ever real. This black universe of ours is constantly annihilating selves, regardless of how prideful and powerful they might seem in the moment. This often happens even before the body's decay. Who has not seen an old woman or man afflicted with alzheimers? Their precious tomes of Nietzsche, LaVey and Ragnar Redbeard will not help them. On the contrary, that which we call our "self" or "I"—attached, as it is, to mind and body—is simply one of power's many gestures and it can be relinquished for the sake of greater power. That which peers out these eyes is far larger and monstrous than a petty ego, continually engaged in reinforcing and realizing itself against its fated tragedies. When the self dies for a little season, something greater is seen. Passion enters into the demonic, power into the netherworld and all the harmonizations and artifices of reason become bright with an infinite blackness, revealing that place within consciousness where the ghastliness of the cosmos breaks through. This is the area of magical consciousness—not the foolish pride of dying meat. Practice and you will soon see. Yet even having dissolved, the witch's work is not yet done.

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Techniques of Perceiving Presence Having stilled herself and achieved a modicum of dissolution, it is now time for the witch to shift her perception in such a way as to see the demon and sense his presence. Once seen, communion results. And it is in the space of communion that information is received. The demon unveils itself through a change in the dimension of time and space. This is its entrance into our world. I recommend two approaches in perceiving this change: 1. Unfocused 2. Focused In the first approach, the witch simply allows the demon to make its presence known in the space of her awareness, now having quieted herself and passed away. Herein the witch is passive while the demon is active. If audible channeling alone is done, her eyes remain closed. If visible, she fixes her gaze upon the black mirror. In the silence, images roil forth and new words are spoken. A witness to them, the witch records all she sees. She becomes a tabula rasa—a blank slate upon which the demon engraves his meanings and intentions. In this approach, the witch must be cautious not to assert herself in any way, for the dividing line between illusion and reality is as thin as gossamer, and she can easily slip away. In the second approach, the witch closes her eyes and visualizes a black void. In the center of the void an eye of perfect blue opens, a red tear of blood on its right corner. The light of the eye grows brighter, extending a beam of the same color to the witch's heart. The beam widens and raises itself to her skull. It then enters into her skull through the middle of the eyes. The witch focuses on this beam alone, casting everything else out of her consciousness the moment it arises. Her energy waxes as the awareness of her body wanes—this is observed in all demonic communions. She sees movements within the light. These are indications of spiritual presences— demonic or otherwise. When one becomes particularly prominent, the witch visualizes the eye closing, the beam withdrawing and the demon's movement remaining. Focusing on the demon, it draws closer to the witch. She gains a sense of its nature. If visible scrying is to be performed, the witch opens her eyes and gazes at the black mirror as she continues focusing on the sense of 18

the demon's presence. If audible alone, she leaves them closed. Once the demon is present, as in the first approach, the witch is wise to not assert herself, letting the demon show her what it wishes. This is how she knows and sees. There are other approaches—more than it is prudent or needful to write— but let these suffice for now. If the witch finds success by these, she needs nothing else. Many demons are encountered by few means and this is as it should be.

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Stages of Manifestation Visible and audible manifestations are the two primary forms of channeled or scryed data according to these methods. Both often occur in tandem and are equally useful. The altered state of consciousness necessary for scrying the visible paves the way for scrying the audible, and vice versa. The witch on this path would do well to make use of both. The phenomena associated with them may arise internally from the witch herself or, alternatively, from the power of the demon. Arising from the witch herself, such manifestations are defined as hallucinatory. When arising from the external influence of a demon, they are defined as paranormal. This distinction should be noted carefully and always be kept in mind by those who wish to pursue this path. Visible manifestations are beheld with the eye or with the mind's imaginative powers. When appearing to the eye they are indistinguishable from material objects, though their nature is ultimately mental rather than material. When seen by the imagination, their nature is between that of thought and image. Audible manifestations are the same way: heard in a manner that resembles physical sounds or else in the borderland between sound and thought.

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Stages of Visible Manifestation When manifestation occurs on the scrying mirror, it goes through four stages: 1. Nebulous 2. Geometric 3. Coherent 4. Narrative In the first stage, the imagery on the scrying mirror is amorphous and undefined, appearing as smoke, static, clouds, sinuous waters and waves, etc. Nothing direct is being conveyed, though the presence of such phenomena informs the witch that she is indeed reaching the proper state of mind. These nebulous forms must be watched carefully and the witch may experience many months of seeing nothing else when she gazes. Their presence indicates that the imaginative (or "auto-genetic", i.e. selfproduced) aspects of consciousness are becoming active and removed from their former state of dormancy, allowing for what is to come. In the second stage, the formless and ill-defined former visual phenomena begin to assume order through geometry. Undulating and kaleidoscopic movements, swirling vortexes, five, six, seven and eight-pointed stars, circles and lines are all common motifs. The imaginative aspects of consciousness are beginning to impose order upon the chaos. This is the signal for the demon that it may begin to convey information. Harmonized in this way, the witch's mind has reached the point where it is passive in its perception yet active in its imagination—the ideal state of scrying. In the third stage, the demon assumes control and forms the pre-existing geometric shapes into identifiable (and, at times, familiar) images. While these may possibly be symbolic—as in the case of a Goetic seal—the images are more often parallel to known material things, albeit occasionally chimerical, distorted or mutated. These images may move at a rapid pace or occur slowly but are always defined by their coherency. Information can be directly conveyed to the witch at this stage, the demon showing itself, its intentions and its message through visual scenes. The fourth and final stage is the rarest and may not be encountered by all who attempt this method. It is this: the images given in the third stage cease 21

to emerge and dissolve with no apparent order and, instead, become a narrative, with one image leading to the next in a logical progression. The witch sees what might be described as equivalent to a "movie" or peering through a window. Scenes, beings, objects, actions and events are conveyed in this manner, the meaning unfolding as the images progress. The rarity of such a stage is due to how unnecessary it is for most magical purposes, as the third stage is almost always sufficient to convey the desired and intended information. The witch should be aware of this stage, however, for if she arrives at it but remains unaware of it she may overlook the logical sequence of the images and miss their intent.

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Stages of Audible Manifestations Channeled manifestations at the audible level have only three stages: 1. Incoherent 2. Single word 3. Sentenced In the first stage, sounds occur—occasionally emotionally charged—but nothing definite is said. The demon may hiss, whisper, growl, cry, laugh, babble, etc. but no precise words are spoken. If anything is conveyed, it is through emotion or tone rather than concept. Though this stage is the most common, it is the least useful. In the second stage, the demon speaks a single word or a string of words in the witch's language, though without a clear syntax. The words convey matters of importance, however. The inflected tone of these words is also significant. In the third stage, the demon speaks full sentences. As with the other stages, these may be in response to the witch's queries or may arise spontaneously. Of these, the third stage is the rarest, though also the most useful, and it is through this stage that the demon may inform the witch of grimoires and other teachings. It is not as rare as the fourth stage of visible manifestation but it is a comparatively rare stage—especially among neophytes, though the occasional neophyte may find a deep aptitude for it at the outset. As it pertains to the revelation of grimoires, visible manifestations give an atmospheric sense of the grimoire as well as inform the witch of special seals. Audible manifestations give the text of the grimoire, providing precise instructions. Both are necessary and nothing should be performed until there is reasonable satisfaction that all information has been revealed.

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Using Channeled Information Once information has been received, it must be put to use. A gift from the demon in this form binds the one who receives it to put it into practice, if practice is warranted. To be given it and not employ it is to court disaster. Information given is of the following types: 1. The secret knowledge of times 2. Metaphysical knowledge 3. Personal knowledge 4. Grimoiric knowledge The first type, as you can see, covers secret knowledge of the three times: future, past and present. The demon here may respond to questioning or it may introduce knowledge that is useful. For example, if the witch should avoid a certain area or person, yet not yet realize it, the channeled demon may take it upon itself to warn her. Otherwise the witch makes her requests and the demon provides the knowledge. Not all of the knowledge is actionable, of course, but the witch is bound to act if it is. She ought to therefore be careful what she asks. The second type is knowledge of the spiritual realms, whether angelic, demonic or otherwise. Both simple and advanced metaphysics can be learned this way and are often accompanied by direct perception of the realities told. As with the first type, the demon may pro-actively inform of the witch of what she ought know, or else it may respond to questioning. Metaphysical knowledge is less pertinent to the path than one might suppose, however. Reality is action and known through action—this is true of both lower and higher realms. It also requires experience to know of it. The third type is knowledge given to the witch concerning her own personality. It may refer to weaknesses or strengths, problems or future goals. Often the demon will tell of what pursuits are most worth undertaking and what pursuits will only incur degradation and loss. Here the demon performs the work of a personal guide, leading the witch down her path. The knowledge is rare but most beneficial. As before, it must be acted upon once learned.

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The fourth and last type—Grimoiric knowledge—is the revelation of new grimoires to the witch. This, truthfully, is the heart of the Satanic path I propose: the grimoires of old were revealed in this manner, though the art of uncovering new ones was lost to most. The benefits of working with grimoires newly received in the context of channeling—or of working with grimoires given to others on the same path—will be obvious to those who have an experience with magic. In such grimoires are given spirits to contact and their sigils, spells to perform and numerous other rites. Metaphysical knowledge may also be given, though always with an eye to practicality. If the practicality is not immediately apparent, the witch may need to investigate it further. Epigrams, paradoxes, riddles and such are not uncommon. Barbarous words, too, are often given, as are words in other languages that the witch will need to decipher. Each grimoire is a journey unto itself—both in its performance and its reception. This last type of knowledge deserves more discussion, however. When receiving it, the witch ought to compose a new grimoire based upon it and carry out its teachings. The information will not immediately appear in a precise literary form. Often it will be fragmentary and half-developed. After taking her notes and performing the rites given, the witch should re-work the texts and sigils into a proper full-text. She needn't wait till the grimoire has been codified and composed in order to perform the spells and rites given but, when the time is right, the grimoire needs to be put into a coherent literary form. It is up to her own discretion whether or not she shares it with others. And with that, I end this book.

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Table des Matières Beginning Statement on Dark Paths The Nature of Channeling The Black Mirror Required Items Stages of Channeling Techniques of Stillness Techniques of Dissolution Techniques of Perceiving Presence Stages of Manifestation Stages of Visible Manifestation Stages of Audible Manifestations Using Channeled Information

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3 6 8 10 11 12 14 16 18 20 21 23 24