On my evening dogwalk a book came to me. ‘Shakti Mantras,’ it was called – found it in a pile of free stuff on the sidewalk. I resumed my walk, flipped to a random page and found a passage on the Goddess Kali which read 

“There is a long standing play on words concerning Kali and “time” which in Sanskrit is kala. The saying in the far is East is ‘nothing is as ruthless as kala except Kali.’ Time devours all, but that which consumes even kala is Kali, for she is the infinite receiver of all. The inky black look of Kali is the inky blackness of the void. In the cosmos, Kali is she whom all the energy of the universe returns, devoid of form, aspect or object. Kali is the void of the cosmos that gives birth to the next Maha Kalpa, or great cycle of another universe.” 

Kala means time, Kali is black, the abyss of timeless space. She swallows the universe at the end of each cosmic cycle, thus she is destructive and “evil” to those who can’t see her true beneficent function (as a decomposer, like the fungi). All forms dissolve in time to the final sleep at the end of each cycle, which was what I had just written about in my previous post.

This was not the first time a book or video or blog post synchronistically fell in my lap that was precisely the missing piece of a puzzle in a current line of research. God is good – Blessed Be He. 

And lately I have been reading in Ken Grant’s work (protege of Crowley) about the 16 kalas, (which he said is where we get the word, color), which are how we contact the Daath portal, the 11th hidden sephira. Daath exists outside time, in a dimension removed from the Kalpas, the great cycles, if you will. This abyss thus has its own rules and grammar but is generally chaotic. Daath is the dark portal leading to these “tunnels of Set” and the Qlipoth (shells, shades) in the back of the Tree of Life. “Daath” is probably where we get the word death. 

The gate to this abyss, runs through the path of Gimel on the tree, which is the camel, a desert animal who spans the deserts of Set (abyss):

This is the path of the High Priestess, and she is the subconscious mind, as opposed to The Magician who is the waking mind. This shows where Daath resides (as forgotten mental residue). Grant writes,

The Eye of Horus which is dripping or bleeding could be hinting at this “occult eye” the menstruating vagina.

The menstruation is symbolic of the break in the cycle of creation, the bleeding only being a result of the lack of the creative male seed. The blood red color connecting also to the color of the setting sun (Set) as it dies in the underworld.

The moon of course is tied to the female monthly (moonthly) cycle. The lunar eclipse forms a corona (crown), like an eye.

When the baby’s head shows during birth it is crowning.

The female aspect of the Godhead in Qabalah is Binah, the third sephira and its ruling planet is Saturn (Chronus, time, devouring his children). It’s color is black.

This is where we get the black cube of Saturn, (denoting infinite space, abyss)

The abyss of the hidden 11th sephira, Daath, leads to the back of the tree, where reside the 6 Qlipoth, plus Daath, for 7 deadly sins. But since Daath is a pseudo-sephira, not really counted, we have 10 sephira and the six Qlipoth or shells for a total of 16, which corresponds to the 16 kalas as described by Grant. This number is important for its correspondence to once again the female ovulation cycle and by its extension the lunar cycle. 

But returning to the 7 shells or shades or Qlipoth on the dark side of the tree, of which Daath is the opening or aperture into, we see in Revelation that the “Scarlet Woman” rides the 7 headed dragon, the beast. She is also a type for Kali, her scarlet color being the menstrual blood but also the setting sun (Set) slaying Horus, going into the night, the underworld. Whether she is black (in Egypt that is Nuit, where we get the word Night, Not, Naught, etc.) or red, the symbolism points to the same. 

Osiris being a black god was a later gender role reversal when the masculine Osirian cult replaced the earlier feminine Typhonian tradition of the Black Goddess Nuit (in the East, Kali). Nuit’s concort was the male Hadit. Osiris then becoming the Greek Chronus or the Roman Saturn.

Saturn who was black as the abyss became Satan, a red bull, El Diablo. He/She is also typed as the androgynous Baphomet with a goat head. Goats and bulls are UNGulates, which is the same root as ANG, as in angel or angle or light. White light refracts into the 7 angles or colors (kalas). And light (Hadit) can only shine into a void or black abyss (Nuit).

So we have a universe of color and time when pure white light (Christ) was bent into 7 primary angles or angels, with 12 altogether (his disciples). In astrology this pattern manifests as the 7 interior planets and 12 signs of the Zodiac (angles of 30 degree increments away from the ecliptic or HORizon [Horus]). In music it is the 7 major notes (white keys only on piano) and 12 notes in a full scale (white and black keys).

Touching on why we see so many UNGulates (ANG) in the Zodiac, the bull, the ram or lamb, the horse and the goat – an ungulate is an animal with cloven hoofs, like the cleft (vagina) of the Divine Mother (abyss, Binah, Saturn, Daath, Nuit, Kali) birthing  the universe, the Son; the noumenal producing the phenomenal, through time (Sanskrit – kala). This is the occult formula 0=2 which Crowley dilates on.

The cloven hoof or cleft shows up in music as the clef, again the notes of the scale. To cleave is to open, but also means its opposite, to stick two things together. St. Matthew writes,

‘For this cause shall a man leave father and mother and shall cleave to his wife, and the two shall be one flesh’

-Mathew 19:5.(KJV)

From the cleft or vagina or vesica piscis we can derive the fish shape which we expounded HERE. The fish is the glyph for the letter Nun, which is assigned to the Tarot Key Death (Daath). But death is wrapped up in the Scorpio sexual energy as the fish is symbolic of fecundity.

From the zero, the No-thing, the Naught (Nuit), we get the two – subject and object. This dualism is, in the last analysis an illusion, as there is no such separation, which is why Kali becomes, Maya, a veil, an evil, hiding the truth. She became Satan, in its Qabalistic sense of an obstacle to wisdom and knowledge, to union with God.

The 16th Hebrew letter Ayin, which is the glyph of the eye, holds all this symbolism as well.  It associates with the 15th Tarot Key the Devil, (who looks like Baphomet) for all the reasons stated above.

The Hebrew word Ain means nothing, or void. It is the eye of the Abyss, through which the portal is Daath (Death), the 11th “hidden “ sephira. The 11th letter in English is K, like Kali and Kala, perhaps, Grant says that this is why Crowley attached the letter K at the end of “MagicK.” 11 as the lopsidedness that follows the perfection of 10, and begins a new cycle of numbers, is thus the magicKal energy that evokes Set through Daath, and the creatures or demons of the abyss, the “Dwellers of the Threshold.”

These Typhonian monsters are described in HP Lovecraft stories, and in various myths around the world. Since Daath exists outside of time or kala, it is a holding place for the darker pre-human creations, failed experiments devoid of life and light and intelligence. But they are necessary to counterbalance the light, the Day side of the Tree. The “Nightside of Eden,” as Grant calls it, or dark side of the Tree, with its Qlipoth actually serve a benevolent function for the whole, just as light cannot shine without dark.

It is my understanding that Daath also serves as a reservoir of repressed subconscious material in the collective unconscious of man. That in each cycle whatever idea forms are not digested, almost like ghosts, hang around in the abyss of Daath until the end of a cycle in which all forms are absorbed back into the All, the Source, or the Ain, or No-thing, the Ineffable. This state of pure Subjectivity in between cycles or Maha Kalpas can be imaged as dreamless sleep.

But in the meantime these dark and twisted forms, while devoid of life, can, like dust bunnies in the wind, take on the appearance of sentience, and when called on by the magician, invoked through ceremonial ritual magick, do actual work in our world. This can be used for good or ill, just as electricity, being neutral, can turn on a light or electrocute you, depending on how you use it. 

When an adept attempts to contact these forces for ill uses of the lower ego, he goes mad and reverts almost to that of an animal. Then his soul is lost to the deserts of Set for the rest of the aeonial cycle, and he becomes part of the Black Brotherhood. But an adept using these same primal animal powers can harness them for good as well. This is the whole secret of initiation and why this stuff is kept behind veils.

Now it is for the reason of magickal contact with primal animal forces that two Egyptian symbols for Daath and the abyss were the Ape of Thoth (Thoth was a moon God, whose name rhymes with Daath), and the Dog of Set, who is thus equivalent to Sirius, the Dog Star, another pattern I have been unfolding in my post Orion and His Dog. 

Grant writes,

It is significant that the film 12 Monkeys was all about time travel, linking to the themes above.

Perhaps the most fascinating aspect of all this is that these symbols and powers never went away but are here and active now, clearly, through Hollywood and the like. It is almost as if all the coded occult media productions are sourced from this timeless space of Daath, this dark portal. Inside is a vast information singularity that the dark forces are using as their A.I. God, telling them what to do. The episode of Southpark “Cartoon Wars” with the manatees cryptically shows this. The episode pokes fun of ‘Family Guy’ by divulging how they script their shows. They have a giant tank of manatees who swim around and occasionally pluck a colored ball with a word or two on it, usually a reference to pop culture. In this way, the show writers string together a few words as the outline to their script.

I am suggesting that this is how the elite run the show on Earth, but instead of manatees they use the Typhonian beasts of the void, which they contact through the portal of Daath, and instead of colored balls with words on them they use artificial intelligence databases, programmed to run algorithms of control and propaganda, propped up by energy harnessed from subconscious patterns in the collective mind (occult symbolism, numerology), as well as cosmically relevant times in astrology such as eclipses and major conjunctions, etc.

I first caught wind to how the elite may be slipping in Daath symbolism into their productions when Jason Bickford pointed out that in Fear and Loathing in Las Vegas when Hunter S Thompson wakes up after his mind bending adrenochrome trip he has a book open on his lap called The Death Ship.

That is the “Daath Ship,” because the entry through that dark portal in ceremonial sex magick involves imbibing certain glandular secretions. The drug adrenochrome harvested from a pineal gland is poking fun or alluding to this. The drug drives Thompson mad, in that scene, because madness is a risk with playing with these energies. But again, ‘adrenochrome’ would be the crude black magick form of White Tantra, as practiced by the ancient Oriental adepts, these rituals were done in order to gain contact with Higher Beings and return with high wisdom and knowledge to uplift mankind. It is of this form that Grant says Crowley was basing his rituals on, and I am beginning to think that Crowley may just be the most misunderstood character of the last century. It is mostly those prudish literalist Christians attacking him – but they cannot begin to conceive of ANY occult or esoteric material without running the other way screaming, “devil! Witchcraft!” And yet they are the most repressed, their subconscious minds are the ones overrun with demons, because they allow for no proper outlet.

So was Crowley pushing Satanic, pedophilic, blood lust and vampirism, as his detractors maintain? Its possible, but I have yet to see really damning evidence for it. He was certainly using body fluids in his rituals, but that does not equate him necessarily with the group that is harvesting adrenochrome and making pizza and murdering children (because we know that this definitely exists, see: the CRIME).

Things aren’t so black and white (Binah and Kether), and if this indeed is the new Aeon of Horus (the Son, Tiphareth), than we are going to see a lot more gray. To conquer Daath and the Qlipothic realms the adept must transcend these lusts and perversions by swimming amongst them, swimming with the sharks, to survive you must become a shark yourself. This may all that Crowley meant when he spoke of “developing a taste for the repugnant.”

Further reading:

Is the “Daath Ship” a subtle reference to the Philadelphia Experiment (a naval ship that was supposedly sent through a wormhole and disappeared)? Whistleblower ‘Sol Mason’ spoke of this.

For more of Kali ritualism in Hollywood, see Beyonce and Johnny Depp (as the Mad Hatter) do the Kali Death Dance on 7/11 I mean 9/11!

Eye of Horus Bleeding in Popular Media

Ken Grant points to the paintings of adept Salvador Dali as suggestive of this material (dark portals/tunnels):

…where time melts away: