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Greetings, friends!
Annihilation of Joy • The Midnight Gospel
At a prison for simulated beings suffering from existential dread, Clancy ponders reality as he watches an inmate perish over and over.
The Midnight Gospel (2020-)
- We want to continue pushing into simulation, it's like we want to repeat what's already happened, it's not enough that we're in our bodies and we're identified with this player character(..)
It's like we've got virtual reality goggles on and we're in a game and now we want to put on another set of virtual reality goggles and then not only do we want to that on, but we want to add to that another augmented reality, then another. So this is like, this kind of infinite... is "ingress the right - and infinite pushing into matter and time and infinite... and in that kind of pushing into matter and time we're desperately trying to avoid taking off the virtual reality goggles.
- what are we desperately trying to avoid it? Because we dont want to feel "that feeling" (...) the feeling: I am as I am (...) the feeling of everything you do, the addiction (...) in not feel your inherent suffering because it sucks to have a body. IT HURTS!
Aleister Crowley died long ago, as have his most prominent students. If the Western magical tradition as a whole is to advance, it must put Crowley's work and failings in proper context – and then move on. The key to doing this is understanding that Crowley was not exemplifying the Western tradition, but that he instead created an inverted, shadow version of it.
Jason Louv, John Dee and the Empire of Angels
For the Hermeticist, the universe is a holographic unity, and understanding any aspect of it can aid in understanding all other aspects.
Jason Louv, The Angelic Reformation: John Dee, Enochian Magick & the Occult Roots of Empire
These 7 occult movies actually get real magic right: Gnosticism, witchcraft, Vodou, faeries, and hyperstition. Most occult movies just throw in a pentagram and a Latin chant. These films go deeper. In this roundup, I break down seven movies that put real occult ideas on screen and treat them seriously — from They Live as Gnostic awakening, The Craft as 90s witchcraft and agency, The Love Witch as ritual glamour, In the Mouth of Madness as hyperstition, Angel Heart as occult noir and American Faust, Pan’s Labyrinth as fairy-faith initiation, and The Serpent and the Rainbow as Haitian Vodou, zombies, and political dread.