Sigil

Articles
SATAN’S LOGOS
“According to Jung, ancient human collective memories are shared and often take
form as symbols; examples include suns symbolizing warmth, or skulls symbolizing
death.”
“See, your murderers come with smiles, they come as your friends, the people
who’ve cared for you all of your life.” —Henry Hill, Goodfellas
Hi back in April of this year I drew a few different sigils for various things, I tried my best to charge them
individually, one of them was to make me successful in my work. I work freelance as a relief chef working
on short contracts of a few weeks to about a month at a time, but over the past 3 or 4 years I had problems
which affected my work and I found myself sliding down a slippery slope of failure after failure, bad press
means that the employment agency who gets me the work (there were several different ones) eventually stop
doing anything for me or they only offer me the jobs nobody else wants to do. They stopped phoning me and
when I phoned them they very rarely wanted to know me. So back in April of this year I designed a sigil
which I really liked, I drew it several times until I felt it was right, I then charged it with calming my body
and I tried real hard to focus on my sigil and told it that I wanted to improve my skills at work and once
again become good at my job as I once was before. I then saw a different employment agency who only
wanted to work with self employed people (that is me) I contacted them and they put me in a job in a very
nice upmarket country house hotel in the Scottish Borders (I live in the UK) anyway the job was for around
1 month and just after I started working there I my new boss really liked me and my work, they contacted
my agency and informed my agent that they were happy with me and my work, after this job the same
agency immediately got me more work this time only for a week though but once again the new employer
was so happy they contacted my agent and told them that my work was very good, (this started to give me
more confidence in myself again) So at the end of this one week job I was offered another position in
another country house hotel in the Scottish Highlands where there would be less pressure in the job but also
that they would be offering even more money than I had before so it would be a win, win situation and again
this job was for one month contract, once againthe management in this new job started to praise me for my
work and my ability to do the job, I was receiving great feedback from the hotel’s general manager, their
head chef and lots of other people too, and of course this filtered back to my agent who has been very happy
towards me because it gives him a good reputation as well. This week I am on a foreign vacation in Eastern
Europe as I feel I needed a break and so did my wife, so back to the sigil again…… (more seduction).
OCCULT SYMBOLS IN CORPORATE LOGOS (PT. 1):

REDISCOVERING THEIR ANCIENT MAGICAL MEANING
By Richard Cassaro March 19, 2011 Category: Featured Articles
Elite corporations are committed to increasing their profit margin, and will go to great
lengths to do so: they will even turn to psychology and esoteric symbols to unconsciously
sway people, co-opting ancient magic symbols previously used for benevolent purposes
and subtly shifting their symbolism for use in logos to manipulate viewers for their own
benefit.
Does the Mercedes Benz logo make you think “luxury,” “style,” “class,” and “comfort”?
The Mercedes Benz
logo, famous worldwide.
This may be what it means today, but for
thousands of years it had a far different
meaning. It was the “Triquetra” of
the Druids and Celtics, who knew it’s great
secret: The symbol’s natural shape has
the ability to stimulate the human psyche
and awaken spiritual powers within us when we look upon it.
The Triquetra was principally a ceremonial device in neolithic Europe, used in magic, ritual
and religious incantation. Superimposing the Triquetra over the Mercedes logo
immediately produces a very obvious parallel:
Left: How does sigil magic work?

A common method of creating the sigils of certain spirits was to use kameas magic squares —
the names of the spirits were converted to numbers, which were then located on
the magic square. The locations were then connected by lines, forming an abstract figure.
The word sigil has a long history in Western magic.
Sigil (magic) - Wikipedia

https://en.m.wikipedia.org › wiki › Sigil_(magic)
Search for: How does sigil magic work?
How does sigil magic work?

A common method of creating the sigils of certain spirits was to use kameas (magic squares) —
the names of the spirits were converted to numbers, which were then located on
the magic square. The locations were then connected by lines, forming an abstract figure. The
word sigil has a long history in Western magic.
Sigils are symbols made from the letters of an affirmation. The affirmation is forgotten by the
conscious mind and the symbol is implanted into the subconscious mind. The subconscious mind
is what manifests our entire reality. Your life is created by what is going on internally. By
implanting a symbol into your subconscious mind, you can become a conscious creator and
strategically implant the things you want in your life into your brain.
Ways to activate active sigils:
1. Putting the sigil on a piece of paper, and burning it in fire.
2. Putting the sigil on a piece of paper, and submerging it in water until it dissolves.
3. Putting the sigil on a piece of paper, and ripping the paper in half.
More ...
After you are done charging, and filling your sigil with your intent you must go through the process of activating
it. Activation is the process of firing your sigil into the universe along with the act of allowing the sigil to work in
your subconscious. There are two types of ways to activate your sigil. These two types of ways are passive, and
active sigil activation. Both of these types of ways have their own benefits, and it is important to understand how
to use both of them, so that you can pick the right one for the job.
Active Sigil Activation:
In active sigil activation the energy is usually released all at once, or in a very immediate fashion. This type of
activation is usually going to be done through the act of destruction of the sigil, so that all the energy that has
been charged into it can be released and fired into the universe, and your mind can greatly actively focus on the
sigil that has been marked upon your subconscious. This is usually going to be used for such sigils that are used
once on one particular thing. This is really good for quick, and fiery manifestation, but it will go out, and try to
complete its task, and then burn out rather quickly. This type of method should be used on things that you want
done that are pretty direct, and will only need to be impacted once.
Ways to activate active sigils:
 Putting the sigil on a piece of paper, and burning it in fire.

 Putting the sigil on a piece of paper, and submerging it in water until it dissolves.
 Putting the sigil on a piece of paper, and ripping the paper in half.
 Drawing the sigil in to the sand at the beach, and letting the sea wash it away.
 Drawing the sigil in the air with your energy, and pushing through it in order to destroy it.
 Making the sigil out of dust, or powder, and then blowing it away to destroy it.
 Making the sigil in your mind, and then imagining it being destroyed to activate it.
 Putting the sigil on food then eating it.
 Drawing the sigil on a firework, and then set it off.
 Drawing the sigil on a balloon, and then pop it.
 Drawing the sigil on your body, and then wash it away.
 Singing the sigil out loud for all to hear.
 Playing a music, or an audio sigil, out loud for all to hear.
 Place the sigil on a piece of paper, and rip it up.
 Draw the sigil on a rock, and throw it in a body of water.
 Putting the sigil on a cigarette, and then smoking it.
 Write it on a dry erase board, and then erase the sigil.
 Take a picture of the sigil, and then delete the image.
 Writing it on the condensation of a window, or mirror, and then allowing it to disappear.
 Writing it in the air with a sparkler, and allowing it to eventually fade.
 Vibrating the sigil with your voice.
 Signing the sigil with sign language.
 Using a hand tapping sigils.
Passive Sigil Activation:
In passive sigil activation the energy is usually released overtime through a very moderate, and controlled
fashion. This method is done through the act of keeping your sigil around, so that it can continue to work, and
releases energy when it is needed. This may be continuously releasing energy overtime, or being triggered at a
certain point to release energy. This makes for a very Earthy form of manifestation. This allows this sigil not to
use all the energy at once, but to continue working for an extended period of time, or only when it is triggered.
This also allows the sigil to work in a more dynamic way allowing it to work to fulfill its desire, or intent in a more
ever-present, and passive manner. It will be use only when it is needed, making that sigil more versatile in its
actions. Passively activated sigils will always be active, unless they have a trigger. You will have to recharge
your sigils if you are using this method every once in awhile after they get low on energy, unless they have a
source to draw energy from.
Ways to activate Passive Sigils:
 Putting the sigil on a piece of paper.

 Drawing the sigil on your body.
 Getting a tattoo of the sigil on your body
 Carving sigils into a candle, and lighting the candle.
 Carving sigils into soap, and washing your body with the soap.
 Making a sigil amulet.
 Writing, or carved the sigils upon wood, or stones.
 Drawing it in energy upon something
 Placing the sigil as your computer, or phone background.
 Posting an image of the sigil online.
 Drawing the sigil with chalk on the street, or sidewalk.
 Having a piece of clothing with the sigil on it, or sewn into it.
 Drawing it in a public place.
Sigil Magick: Ways to activate a sigil – Wolf Of Antimony Occultism

https://wolfofantimonyoccultism.com › 2017/07/14 › ways-to-activate-a-sigil
Charging methods for sigils:

1. Pushing energy into the sigil by using energy work.
2. Meditating intently on the sigil.
3. Focus on the sigil intensely.
4. Dancing around the sigil.
5. Working out with the sigil.
6. Chanting over the sigil.
7. Masturbating on to the sigil.
8. Masturbating while looking into the sigil.
Mercedes logo. The Triquetra is the Latin tri (“three”)

combined with quetrus (“cornered”). It was found on
runestones in Northern Europe and on early
Germanic coins.
The Triquetra has appeared in numerous Pagan works, starting

with Pagan artwork and temples and later moving to Gothic
cathedral walls. Mercedes has taken this logo and induced a semantic shift in the
symbolism of the logo, disconnecting it from our inner quest for self and linking it to a
product (in this case, a car).
It is, of course, conceivable that this is coincidence: some have argued that the Mercedes
logo is in fact a “wheel-and-spoke” symbol, related to tires. This argument, however, is
invalidated by the fact that the current logo was crafted from the merging of Daimler and
Benz’ logos in 1926. Daimler’s logo, before that merger, was a Triquetra without any
recognizable parallel to a tire; it was only later on that the logo was altered to its current
shape, well after the original embedding of the Triquetra.
The Triquetra can also be seen in another car

company’s logo, that of Mitsubishi:
Left: The Mitsubishi logo, which
goes back to 1870.
Right: Ancient European Triquetra.
“Mitsubishi. “Mitsu” means “three” and “hishi”
means diamond. Altogether the word means three
diamonds, shown in the logo.
Coincidence is possible, of course, but unlikely:
the founders of Mercedes and Mitsubishi understood the power behind these symbols and
harnessed it to control consumers.
Psychologists and mythologists like Carl Jung and Joseph Campbell have long taught that
symbols like this continue to have a pull on the human mind. They are deeply embedded in
our cultural consciousness, with a meaning that is long forgotten but continues to affect us
by circumventing logic and reason by tapping into a more primal source within us.
Marketers have known the link of these icons to a consumer’s raw emotions for years,
dating back to over a hundred years ago. Even if they themselves do not know the original
meaning behind an esoteric symbol, they intuitively understand its affect on people and
shift that feeling into their products and thus unconsciously associating these ancient
symbols with their own products in the minds of consumers.
Once learned and associated, the symbol’s identity and the emotions it elicits become
ingrained in the mind forever, drawing us in again and again, entering the deepest
unconscious of our unsuspecting thoughts.
Above: The show Charmed reveals a human memory of the magic

of the Triquetra logo and “power of three”—the exact same
“magic” Mercedes has draped around itself.
The power of esoteric marketing is launching products to new heights; it demonstrates a
complete mastery of geometry, poetry and prose. These ancients arts move people to
action by stirring an unconscious, cultural feeling that manifests itself into people buying
into the Triquetra logo- in this case, embedded in the products of Mercedes and Mitsubishi
Secret Oil Company Logos

Let’s now look at another occult logo phenomenon in the auto industry—Oil companies
and gasoline stations.
 Texaco
 Shell
 Sunoco
 Amoco
 Chevron
 Gulf
 Mobil
These are all familiar names. However, each one possesses an ancient, esoteric,
mystically-charged logo, a ready-made symbol.
“See, your murderers come with smiles, they come as your friends, the people who’ve
cared for you all of your life.”
—Henry Hill, Goodfellas
All of these logos have an inherent power in them due to the ancient symbols they co-opt:
they are so effective at influencing people, in fact, that it may seem that the use of them
transcends effective marketing into the realm of mind-control.
The explanation of the symbols will come shortly, but first we must understand why these
symbols are so effective. The effectiveness of these symbols depends on an
understanding of Carl Jung’s theory of the “collective unconscious”. This idea, in brief,
posits that humans have a genetic memory of ancient memories of humanity; a
remembrance of the same rites of passages, ideas, images, etc. and so forth. These
memories are shared and often take form as symbols; examples include suns symbolizing
warmth, or skulls symbolizing death. He calls these embedded symbols “archetypes”, and
they are a part of our makeup. According to Jung, we know them not from personal
experience but from the thousands of years of experience from our ancestors.
These corporate logos, then, take advantage of these archetypes. They lie at the core of
every one of us, and the big oil corporations obviously seem to know this. Let’s take the
shell symbol for example, which is the logo of the Shell Oil Company …sp
ace
SEA SHELL
Top, From Left to Right: Shell corporate logo; Botticelli’s “The
Birth of Venus”; Aphrodite in a sea shell from Amisos, now in the
Louvre. Bottom, From Left to Right: Shell design in architecture on
NYC building; ancient shell coin. shell atop a doorway on a bank in
Buffalo, NY; shell design inside the LDS Church.
Seashell: Seashells are almost universally loved, strewn along beaches like sea
jewels that children (and even adults) collect daily. Few realize, however, that for a great
deal of human history shells played a vital role for man; they were used in everything from
money to art. Stone Age people used seashells to adorn their jewelry, homes and boats. In
tropical countries, many tribes used shells as money. The Incas buried seashells with their
dead. Throughout history, architects and artists have incorporated shell motifs and
symbolism into their work. Gothic cathedrals and the famous Alhambra in Spain are one
example. Shells have been found to decorate deities in the ruins of Pompeii:
Above: The ancient people of Pompeii, Italy adorned
their holy figures with shells.
As a result of these ancient uses, shells are embedded in our collective unconscious as a
positive symbol.
In Greek and Roman myth shells were the mystic symbol of prosperity and regeneration
and, in their association with the sea, the source of fertility. We all came from the sea, as
we all came from our mother’s womb; the shell thus became symbolic of the mythic birth of
the goddess (i.e., Venus, Aphrodite, etc.).
For this reason, the shell was representative of the Female Deity in pagan worship, and
was associated with:
 love
 birth
 rebirth
 manifestation
 reproduction
 all things we think of when we think of the sea romantically
In Roman mythology, Venus, the goddess of love and fertility, was said to be created from
the foam carried ashore atop a scallop shell. Many paintings of Venus depict a scallop
shell to identify her. One example is Botticelli’s classically inspired The Birth of Venus or
“Venus on the half-shell.”
Decorative shellwork rises to prominence in the 17th century, whenEuropean nobility,
inspired by palaces like Medici’s Bobole Gardens in Florence and the Villa d’Este outside
Rome, commissioned artists to recreate similar marvels on their own estates. The seashell
and other sea themes are the most prevalent motifs in French Rococo Style.
The seashell is linked to Spain’s famous Way of St. James (a.k.a. “the road to Santiago”)
which has existed for thousands of years. It was one of the most important Christian
pilgrimages in medieval times, together with Rome and Jerusalem.
“The scallop shell is the traditional emblem of James, son of Zebedee, and is popular with
pilgrims on the Way of St. James to the apostle’s shrine at Santiago de Compostela in
Spain. Medieval Christians making the pilgrimage to his shrine often wore a scallop shell
symbol on their hat or clothes..”
—Wikipedia
Above: Scallop shells, symbol of “El Camino de Santiago” (Way of

St. James) pilgrimage to the Cathedral of Santiago de Compostela
in Galicia in northwestern Spain.
While many are familiar with the Way of St. James, few remember that it was actually
constructed over the ruins of a much older, now-forgotten holy pilgrimage route. This older
route was a fertility pilgrimage, undertaken by young couples hoping to bear children, and
the scallop shell, true to its ancient meaning, is believed to have been carried by the
pilgrims on this route. The Christians continued this tradition in part, but dedicated the road
to St. James.
Above: Evolution of the Shell logo over the past
century.
Thus, the Pagan seashell symbol is part of us, our “collective unconscious.” It has positive
connotations to us, just like the next symbol we’re going to take a look at, the
diamond:space
PERFECT DIAMOND
Top, From Left to Right: Corporate Sunoco logo;

diamond symbol atop outdoor stairway at Reid Hall,
Manhattanville College; Temple of Borobudur
diamond. Bottom, From Left to Right: esoteric
Masonic design found in the books by René
Guénon; letter of the ancient runic alphabet called
“ingwaz”; diamond-lattice pattern in Chan Chan,
Peru; outside floor tiling, West porch, Reid Hall,
Manhattanville College; Navajo rug, stylized diamond
pattern with designs in red, gray, tan and black.
Diamond.
The diamond symbol occurs in every era, culture, religion, esoteric sect, and spiritual
tradition. Diamonds have been treasured as gemstones since very early times. Diamond is
from the Greek word “adámas” or “proper”, “unalterable”, “unbreakable”, “untamed.”A
diamond lasts forever, as we’ve learned from De Biers, and operative Freemasons
incorporated the diamond pattern into the design of the buildings they constructed,
including churches, castles, and cathedrals.
The diamond is both earthly and lasts forever, symbolizing eternity and a higher world
state of being human can achieve- an apotheosis that culminates in gaining higher spiritual
and physical ability:
 “the most sacred body” (wujud al-aqdas) and “supracelestial body” (jism asli haqiqi) in
Sufism
 “the diamond body” in Taoism and Vajryana
 “the light body” or “rainbow body” in Tibetan Buddhism
 “the body of bliss” in Kriya Yoga
 “the immortal body” (soma athanaton) in Hermeticism
 “the superconductive body” in Vedanta
 “the radiant body.” in Gnosticism and Neo-Platonism
 “the Glory of the Whole Universe” and “the golden body” in the alchemical tradition
 “the astral body” according to alchemist Paracelsus
 “the immortal body ” (soma athanaton) in the Hermetic Corpus,
 “the solar body” in some mystery schools
 “the diamond body of the temple of God” in Rosicrucianism
 “the luminous body or being” in ancient Egypt
 “the indwelling divine potential” (fravashi or fravarti) in Old Persia
 “the perfect body ” (soma teilion) in the Mithraic liturgy
The “Diamond Body” or vajra deha is a Tantric term that describes the process of refining
the physical body through the practices of hatha yoga. It is a continuous refinement of the
body until it is so light and airy that it has become a spiritual form upon the earth. It is
achievable only by surrendering the limited perceptions of the body and moving to a higher
state of knowledge.
The process is metaphorically analogous to the intense heat and pressure needed to form
a diamond; the physical body is pushed to such a degree that it is cleansed and refined to
a stronger and purer form. In this system, the method is supposed to not only bring the
practitioner to the ultimate level of consciousness but also give them magical powers,
including immortality itself.
Famous Indian guru and metaphysical leader Sri Aurobindo called this “divine body” the
ultimate stage of human evolution. He believed a kind of “deathless condition” resulting
from transubstantiation of the fleshly body could be attained by meditation, effort and
divine grace.
According to this doctrine, the seeds of this immortal form, the Diamond Body, lie in
potential within us; all humans possess this transformative ability to morph into an eternal
being. A parallel can be drawn with the transformation of the caterpillar to the butterfly:
“Is it possible that the human body acts as a cocoon for a higher, more complex longer
lived form which has the potential for immortality?”
—Dr Mitchell E. Gibson
This parallel was not lost to our ancestors, either: the diamond symbol in the form of a
butterfly (see below) is common to native peoples indigenous to North America, Canada,
and Mexico. Many of the Indian nations identify the butterfly with “immortality.”
Above: Native American butterfly symbol in the

shape of a diamond.
The diamond butterfly motif conveys the element of rebirth, revitalization, and
metamorphosis, encompassing all of these ideals and deeper symbolic meanings into one
poignant symbol
Clearly, the diamond symbol has been with man for untold ages and thus holds a place in
our “collective unconscious,” whether we realize it or not; it is one of the more powerful
symbols in the human collective unconscious- Its presence in the Sunoco logo (as well,
interestingly, in the Triquetra of Mitsubishi) is anything but coincidence.space
TORCH / ETERNAL FLAME
Top, From Left to Right: Amoco logo; back of dime;
steel gate around Yale’s Society of Book and Snake,
the fourth oldest secret society at Yale University.
Bottom, From Left to Right: Replica of Statue of
Liberty’s torch; Statue of Liberty; TriStar pictures
flame; Olympic torch.
Torch / Eternal Flame. The torch is, by modern standards, a rather
antiquated technology, having been supplanted by electricity. For our ancestors, however,
the torch represented light and life for thousands of years (and, symbolically, immortality
and eternal enlightenment), a very positive symbol in the collective unconscious.
One of the most well-known is the Olympic torch. The Olympic torch is the torch of
Promethus and thus the torch that gave fire to man, a very positive image in keeping with
the torch’s symbolic meaning of enlightenment:
Above: Prometheus stealing fire.
Prometheus was a champion of mankind who stole fire from Zeus and give it to mortals.
Zeus then punished him for his crime by having him bound to a rock while a great eagle
ate his liver every day only to have it grow back to be eaten again the next day.
Above: Image on the side of Rockefeller center. A

torch down the middle, a man to the right, a woman
to the left. This is all a clear reference to the doctrine
of opposites.
The modern American dime has the torch of illumination. The Statue of Liberty holds a
massive torch. When held up above the head, a torch symbolizes life and the regenerative
power of flame. Many universities and colleges, in their symbols and emblems, celebrate
torches. In England in the first half of the twentieth century, a torch was used as the road
sign indicating a school, which is a place of enlightenment.
The ancient Greeks viewed fire as sacred and torch relays existed in ancient Greece first
as nighttime religious ceremonies and later as quasi-religious sporting events.
Today carrying a torch for someone can mean nurturing an enduring love or lust for
someone out of reach.
The torch, then, is a very positive symbol meaning life and enlightenment in our spiritual
unconscious; a deeper meaning that could be easily co-opted (and has been) by major
corporations seeking to influence consumers.space
CHEVRON SHIELD
Top, From Left to Right: Chevron corporate logo;

U.S. Coat of Arms close-up; U.S. Coat of Arms.
Bottom, From Left to Right: Castilla y León shield;
shield atop the southern facade of Reid Hall at
Manhattanville College in Purchase, NY; ancient
Roman shield.
Shield.
A shield is a type of personal armor, meant to block an attack, either by stopping
projectiles such as arrows or redirecting a blow from a weapon. Shields have been in use
since prehistory, making them a very integral part of our collective unconscious. The
shapes of shields vary, of course, depending on time and place; shield designs can be
anything from round to square or scalloped. Often shields were decorated with a painted
pattern or an animal representation and these designs developed into systematized
heraldic emblems.
As a symbolic icon, the shield is a positive, defensive symbol that has connotations of
spiritual defensiveness and fortitude.
“The symbolic significance of the shield amounts to a simple transposition of its defensive
function to the spiritual plane.”
—Juan Eduardo Cirlot, A Dictionary of Symbols
The theory behind the spiritual defense is simple: Negativity in spiritual form can be just as
damaging as physical harm. Fear, anger, depression, negative people/places, arguments,
all of these can cling to us and cause problems over time. Spiritual cleansings reduce the
harm that negative energy has on our lives.
One type of shield that is pertinent here is the coat of arms, especially considering it seems
to be the type of shield depicted in the Chevron logo above. The coat of arms is a special
type of shield because it was unique to families; many families passed down their unique
coat of arms on their shields through many different generations, imbuing the coat of arms
with a familial distinction in addition to its purely defensive one.
We don’t use shields today, but the shield has for thousands of years been used by
humans all across the world. It thus holds a very powerful and positive place in our
collective unconscious.space
SOLAR HALO (Egypt)
Top, From Left to Right: Gulf corporate logo; Horus

with solar halo; Horus with solar halo; Japanese flag;
Bottom, From Left to Right: Horus with solar halo;
Horus with solar halo.
Solar Halo.
Sun symbolism (also known as “sun worship”) can be found throughout recorded history
and prehistory. The solar halo in particular is a very ancient symbol, used in reverence and
memorializing by ancient cultures throughout the world, especially that of ancient Egypt.
The sun’s symbolism is quite obvious: the sun gives heat and light, both necessary to life.
As a result of this extraordinary life-giving power, solar deities are often considered
powerful and strong, even supreme (Ra in Egypt, for example); they carry different names
and are associated with many different aspects.
The sun is depicted as a circle (i.e., the perfect circle) which, with no beginning and no
end, has always signified eternity, or the eternal soul within. This brings sun gods like Ra
an immediacy that Judaic gods do not have, a sense that the sun god is inside you. The
sun is also a wheel or chariot, metaphors for your soul and its incarnation or manifestation
in the world, as in these examples:
 Trundholm sun chariot of the Nordic deity, Sol, drawn by Arvak and Alsvid
 Greek Helios riding in a chariot (also Phaeton)
 Sol Invictus depicted riding a quadriga on the reverse of a Roman coin
 Vedic Surya riding a chariot drawn by seven horses
In ancient Egyptian symbolism, the sun is drawn as the “aten” symbol; its wings signify
ascension, or the spiritual uplifting of the soul, the goal of human life. Its twin serpents
depicted as perfectly symmetrical signify duality in perfect balance, the way in which to
achieve this spiritual ascension:
In ancient Egyptian religion, the sun disk became a primary symbol of Ra, the sun. The
sun disk was carved over the doorways of many Egyptian tombs and temples, and it
appears on many papyri. The sun disk is often shown being carried on the wings and head
of Horus.
The forty-four story Gulf Tower in downtown
Pittsburgh, Pennsylvania, (the former corporate
headquarters of the Gulf Oil Company) is shaped like
an Egyptian pyramid! The tower is named for the Gulf
Oil Corporation, which was one of the leading
multinational oil companies of its time, and which has
the Egyptian sun symbol as its logo.
The symbolism is very apparent in the Gulf logo; for those who are skeptical or
unconvinced, however, we need only look to the Gulf Tower in downtown Pittsburgh. The
top of the tower is built in a “stepped pyramid” fashion, like the Egyptian temples; a
connection that takes Gulf’s logo from the realm of coincidence to the realm of likelihood.
The connotations of the sun oas an immensely positive symbol remain strong in the
collective consciousness, and many artists, authors, and composers have put the beauty
and warmth of the sun in their work. The Dutch painter Vincent van Gogh created
landscapes that expressed his joy with bright sunshine. The American poet Emily
Dickinson wrote a poem called “The Sun,” in which she described the rising and setting of
the sun. The Russian composer Nicholas Rimsky-Korsakov included a beautiful song,
“Hymn to the Sun,” in his opera The Golden Cockerel.
With all of this in mind, Gulf Oil uses the sun symbol in its logo because man is attracted to
the sun and its power, and has been for millennia. Somewhere deep inside you, you are in
awe of, and you have love for, the tremendous power of the sun.space
PEGASUS
Top, From Left to Right: Mobil Oil Corporate logo, the
Pegasus; Pegasus flying, Greek Bronze, 300-268 BC;
Parthian era bronze plate depicting Pegasus
(“Pegaz” in Persian), excavated in Masjed Soleyman,
Khuzestan, Iran. Bottom, From Left to Right:
Bellerophon and the Chimera, edge of an Attic red-
figure epinetron (thigh-protector used by a woman
when weaving), ca. 425–420 BC (photo by Marsyas);
Ancient Greek Silver Stater, Pegasus Coin Pendant
Circa 480 – 450 BC; ancient Greek coin from Corinth
c 360 BC.
Pegasus.
The Pegasus is one of the most famous mythological creatures in Greek mythology. He is
a winged divine horse, white in color, and has symbolized speed, power, and swift
transport since prehistory. Additionally, Pegasus symbolizes the immortality of the soul,
serviing as a carrier and protector of the spirit in journeys to the astral plane.
Pegasus is closely linked to various Greek gods like Poseidon / Neptune
(emotion); Athena / Minerva (heavenly wisdom); Zeus / Jupiter (guidance and creativity).
From the Middle Ages until the Renaissance, the Pegasus was a symbol of wisdom and
especially of fame. In the 19th century, he became a symbol of poetry and a muse from
which poets draw inspiration.
The Pegasus symbol itself is a unique combination of horse and wing symbolism; horses
are a potent symbol from almost every world religion and mythology. Many view the horse
as a symbol of strength, virility, and lust; wings, on the other hand, represent prayer,
contemplation, and the soul’s ability to transcend the weight of earthly burdens.
The Winged Horse or Pegasus, then, symbolizes the heightened power of man’s natural
forces, an innate capacity for spiritualization and for inverting evil forces into good. As a
Christian and religious symbol, the Pegasus was adopted from the attribution as the mount
of Apollo, the God of pure light, beauty and truth to be included in the symbolic fauna of
Christ.
Left: TriStar Pictures logo is a Pegasus. Right:
Reader’s Digest Pegasus.
To summarize, it is clear that the big oil companies have used powerful and iconic ancient
human symbols for their logos. They all have done so for the same reason: Because these
corporations have always known that it’s easier to attract humans to their products by
draping themselves in ready-made symbols of power and positivity, than to start from
scratch.
The shell (Shell), diamond (Sunoco), torch (Amoco), shield (Chevron), sun (Gulf), and
pegasus (Mobil) are all ancient symbols that we, as an ancient race, recognize—not in our
conscious minds, but in our “collective unconscious.”
In Part II we will look at the Texaco logo, which is yet another corporate logo (oil company
logo) that’s patterned after another ancient emblem, the pentagram (also known as
“pentacle.”)
Richard Cassaro’s new book, The Missing Link, explores
the meaning, transformations and propagation of the ancient world’s most important
religious icon. His first book, Written in Stone, is a wide-ranging exploration of hitherto-
unknown connections among Freemasons, medieval cathedral builders and the creators of
important ancient monuments, in support of his theory that a spiritually advanced mother
culture, lost to history, is behind many of the world’s architectural and artistic traditions.
Prior to the publication of Written in Stone, Cassaro enjoyed a successful career as a U.S.
correspondent, professional journalist, and photo researcher for Rizzoli Publications, one
of the world’s leading media organizations. Cassaro, who is a graduate of Pace University
in New York City, has examined first-hand the ancient ruins and mystical traditions of
Egypt, Mexico, Greece, Italy, Sicily, France, England, India, Peru and Spain; he has
lectured on his theories to great acclaim in the United States, Egypt, Italy, Spain and Peru.
Richard Cassaro © Copyright, All Rights Reserved.
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appropriate and specific direction to the original
content.
Richard Cassaro is a Madrid-based author, lecturer, filmmaker, and tour guide from New
York City. His published books Written in Stone (2011), The Missing Link (2016),
and Mayan Masonry (2018) offer rare insights into ancient megaliths, spirituality,
mythology, magic, symbolism, secret societies, comparative religion and occult
archaeology. Cassaro has discussed his work on the History Channel, and in documentary
films like Magical Egypt 2. His articles have appeared in print journals and web media
around the globe; and he has delivered well-received lectures about his findings in the UK,
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 The Secret Occult Meaning of the “Three Wise Monkeys” Hidden by the Eliteby Richard Cassaro| posted on March 12, 2012
 The Occult Secret of the “Skull & Cross Bones” Symbolby Richard Cassaro| posted on December 5, 2011
 Exposing The “Secret Owl Society” Soaring Through Historyby Richard Cassaro| posted on November 19, 2010
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EXPOSING THE “SECRET OWL SOCIETY” SOARING THROUGH

HISTORY
By Richard Cassaro November 19, 2010 Category: Featured Articles
There is a fair amount of evidence that the owl is the chief symbol of an elite yet
undiscovered secret society moving through history. In this article we’ll examine this
evidence and uncover the lineage of this secret society. We’ll also learn how the magic,
majestic, and nocturnal owl actually symbolizes an ancient self-empowerment doctrine
once known and practiced worldwide.
Top Left: Owl on Merchants Building on Broadway at
4th Street in NYC. Top Right: Detail on the Catford
Broadway Theatre, London. Bottom Left: Owl
depicted on the façade of the Woolworth Building in
Manhattan, NYC. Bottom Right: Owl on a bridge of
the Merritt Parkway in Connecticut.
A “Secret Owl Society”—a hidden, fraternal Order that uses the owl as its trademark—
could very well be exerting a hidden yet continuous and measurable influence on world
affairs, undetected by scholars, journalists, and historians.
Its members, possibly those same scholars, journalists, and historians, are well-versed in
mystical traditions, ancient mystery teachings, and eastern philosophies.
This Secret Owl Society remains well-hidden. But if we look back in time and connect all
the fraternal orders that have owl logos, we begin to see its lineage, operating for
centuries.
Note the society’s chronology below:space
Chronicle of the Secret Owl Society

Above: Is this the society’s hidden timeline?
If indeed there is a Secret Owl Society moving through history, then its most recent
manifestation is at the mysterious “Bohemian Grove,” a 2,700-acre campground located at
20601 Bohemian Avenue in Monte Rio, California.
It belongs to a private San Francisco-based men’s art club known as the Bohemian Club, a
confederation of the world’s most powerful men who visit the grove in mid-July each year
to perform a Pagan ritual at the foot of a giant owl, dressed in robes and chanting
incantations.space
Sacred Owl
Left: Built in the 1920, this forty-foot owl statue
stands near a lake at the Grove. Since that time it has
served as the site of the yearly Cremation of Care
Ceremony. Right: Early 1900s. Very tall and very old
Redwood trees — some over 1,200 years old.
The Bohemian Club has received very little press coverage since its inception in 1872.
Though the Club itself is shrouded in secrecy, the bulk of what transpires at the Grove is
somewhat documented; it appears to be a mixture of the American summer camp, a
powerful ancient Pagan ritual, and the classical Greek symposium. Greek paganism is
certainly an element, with a series of “Grove Plays” called “High Jinks” and “Low Jinks”
performed at the Club.space
Famous Bohemians
George H. Bush
George W. Bush
Ronald Reagan
Henry Kissinger
Casper Weinberger
Dick Cheney
Malcom Forbes
Stephen Bechtel
James Baker
David Rockefeller
Tom Johnson
William Randolph Hearst Jr.
Jack Howard
Charles Scripps
Walter Cronkite
Add to this list a host of prominent CEOs and business leaders, most of them conservative,
many of them from California, 99 percent of them white men.
Left: Summer, 1967 at “Owls Nest Camp” with two

future U.S. presidents: Ronald Reagan, Harvey
Hancock (standing), Richard Nixon and Glenn
Seaborg. Right: Painted portrait of Haig Patigian with
Bohemian Owl in background, by Peter Ilyin (1927).
Online Archive of California.space
Occult Meaning of the Cremation of Care
Ritual
.
The apex of the Bohemian Grove’s rituals is the Cremation of Care ceremony This was
devised in 1893 by a member named Joseph D. Redding, a lawyer from New York.
G.William Domhoff, a professor of psychology and sociology at the University of California,

Santa Cruz,, obtained access to the Bohemian Club’s records and membership and was
able to conduct extensive research into the organization and their activities, including
details surrounding the Cremation of Care ceremony.
Above: The “Cremation of Care” Ritual. Present here
are America’s corporate leaders, dressed in robes,
burning their collective conscience at the feet of a
statue of a 40-foot owl. (Photo Courtesy of Sonoma
County Free Press)
According to Domhoff, on the first Saturday of the camp, this elaborate ritual is held just
after dinner. The ritual’s main theme is the celebratory burning of an effigy of “Dull Care” at
the bottom of a forty-foot stone owl.
The ceremony involves the poling of a small boat across a lake containing an effigy of
Care (“Dull Care”). Dark, hooded individuals receive the effigy from the ferryman which is
placed on an altar and, at the end of the ceremony, is set on fire.
Domhoff notes: “this is the body of Care, symbolizing the concerns and woes that afflict all
men during their daily lives.”
The occult meaning of this ceremony seems clear. These men carry the cares of the world
and use a symbolic ritual to cast it off. The remaining time at the Club represents a
careless period, or vacation of sorts, during which time no business is conducted.
By “cremating” care, they expunge the negative energy of such emotions as worry, fear,
and anxiety; it is the goal and magical effect of the ritual, which could more properly be
called the “Cremation of worry” or “Cremation of negative energy.”
The pertinent evidence to the present article, of course, is the fact that the ceremony takes
place next to a 45 foot (14m) high concrete owl statue, symbolizing knowledge and
wisdom. The voice of the owl during the ceremony is former newsman Walter Cronkite,
himself a member of the Bohemian Club, and music and fireworks accompany the ritual for
dramatic effect.
“More than 100 Bohemians take part in the ceremony…but…they can’t get the fire started.
. . the perplexed Bohemians must turn to the mighty Owl for advice: “O thou, great symbol
of all mortal wisdom, Owl of Bohemia, we do beseech thee, grant us thy counsel,” intones
the High Priest. An aura of light creates a glow around the Owl’s head, and then the big
bird reveals its wisdom. The High Priest must light the pyre with the flame from the Lamp
of Fellowship…”
— William Domhoff, The Progressive, January 1981 “Bohemian Bigwigs Perpetuate

Canaanite Cult”
Taking part in the ceremony increases the chance of a certain outcome: the same stress-
release and cleansing of negative energy expected from a vacation. They have created a
magic ritual, using the power of fellowship and love, to help cleanse the bad energy from
the group. Magical thinking applies here: they believe they have done it, and so they have.
It doesn’t seem to be a location of secret dealings, per se, as conspiracy theorists believe.
What actually seems to happen instead is that friendships are made here, truly flowering
and blooming in contrast to the ideas of secret or backdoor dealings.
“… my Lakeside Speech at the Bohemian Grove in July 1967…this speech…was off the
record it received no publicity…But in many important ways it marked the first milestone on
my road to the presidency.”
— President Richard Nixon, Memoirs (1978)
Weaving Spiders Come Not Here
The Bohemian Club’s motto—Weaving Spiders Come Not Here—is a line from
Shakespeare’s A Midsummer Night’s Dream, and it directly contradicts the conspiracy
theorists’ claim of secret deals and backdoor negotiations.
The line’s connotation is that webs, or deals and plans, cannot be hatched here; instead,
the camp is entirely focused on the “Bohemian Spirit,” a term used to signify the camp’s
ideals of pleasure, friend, freedom, and awakening.
Left: Metal bas relief owl and inscription on the brick

wall at 624 Taylor, San Francisco, CA. Right:
The words above Taylor Street say, ”Weaving
Spiders Come Not Here.” The word “weaving” means
“planning” which “planning” stands in direction
opposition to the occult purpose of the Cremation of
Care ceremony, the centerpiece of the Grove.
The spider’s connection with creation and illusion are ancient and myriad:
 The Greeks associated the spider with the Fates.

 The Indians associated the spider with Maya, the weaver of illusion.
 The Scandinavians associated her with the Norns, the women who wove the threads of
life.
 Native Americans believed that the spider wove the first alphabet.
As the spider weaves its web, so too we weave our own lives. Thus spiders symbolize
creation, an aspect that has no place in the Grove: the Club is there for the destruction or
cremation of care, and destruction is creation’s opposite.
Spiders are feminine, connected to Ishtar, Atargatis, Athene, the Fates, the Norns, Holda,
Inktomi, Kokyangwuti, Tsitsicnako and Sussistanako and Neith.
Some Native American tribes believed the spider was the weaver who created the world
and saw her as a symbol of creative female energy.
Like women, spiders are in many ways very delicate and gentle creatures. Thus “weaving
spiders come not here” is very pertinent in the sense that feminine spiders cannot come to
an all masculine retreat.space
The Mystical Owl

For the ancient Egyptians, Celtics, and Hindus owls were connected to guardianship of the
underworlds, and protection of the dead. In this light, the owl was ruler of the night and
seer of souls, a suitable association for the most mysterious, magical, and powerful bird of
the forest.
A misunderstanding of this necessary relationship gave the owl negative associations with
death. Because of their wings (which give owls the ability to fly away from earth and shuffle
off this ‘mortal coil’) birds in general are symbolic messengers between the earthly and
spirit realms.
Note that, while there is a concept of death involved here, it’s only “death” in the sense of
being an open doorway from physical to spiritual; more precisely, from the temporary
material world we live in now back to the spiritual source from whence we came, and are
now traveling toward.
The concept of death is very important in the mystical traditions of the Secret Societies. It
is, however, the death of the lower self, and not the soul, that is being affirmed: this death
is in fact a doorway back to the Self, revealing the soul inside.
In other words, to transcend death we must realize that we are a higher eternal Self (soul)
incarnated in a lower, temporary self (body). Since humans do not realize this, we are, in a
sense, “imprisoned” in the body, and must transcend it to free ourselves and realize our
own inner divinity.
A “resurrection” back to the true Self is needed, as it were. And for there to be a
resurrection, there has to be a sacrifice. This sacrifice is care, the ego, the lower bodily self
(lowercase “s”).
In practically every ancient culture, solitary nocturnal creatures are symbolic of these
ideas, of inner-knowing, psychic ability, and intuition; all of which are traits of the soul
within, not the physical body.
The owl is a perfect example of such a creature. The owl knows all of this. The owl is wise,
and always deeply connected with magic, shamanism, and heightened senses throughout
the ages.
Owls have been thought of as “cats with wings,” sharing similar characteristics with cats,
who are of course the familiars of witches and sorcery (interestingly, owls tend to be the
familiars of male mages or wizards):
Native America
Native Americans associated owls with wisdom and foresight, and identified them as
keepers of this sacred knowledge.
The bird’s ability to see at night was legend, and this attribute would be invoked during
ceremonies when an oracle of secret knowledge was required.
Left: Egyptian Owl. Right: Native American Owl
Shamans called upon Owl medicine for insight. Plains Indians wore owl feathers to protect
against evil spirits. The Cree and Apache believed the Boreal Owl was a summoning to the
spirit world.
To this day, Native Americans associate the owl with spiritual vision; the owl is viewed with
respect and associated with the souls of deceased ancestors.
Africa and Australia

African cultures viewed the owl similarly to the Native Americans, heralding them as
messengers of secrets as well as the bird of sorcerers, witches, and warlocks.
In Madagascar owls are said to dance on the graves of the dead, and to the Aboriginal
Australians they are companions to medicine people.
Middle and Far East
In some middle and far eastern cultures, the owl is a sacred guardian of the afterlife, ruler
of the night as well as a seer and keeper of souls transitioning from one plane of existence
to another.
The owl is still considered a witch’s companion, sharing unique spiritual communication
between them, and even sharing the same secret powers of the night.
Europe
In Celtic tradition, the owl represents wisdom, clairvoyance, stealth, initiation, change and
detachment.
Medieval Europeans believed owls were witches and wizards, shape-shifters in disguise.
To this day the owl is considered a witch’s familiar (an animal soul-spirit linked to a spiritual
person via a unique, communicative bond).space
Ancient Owls
Left: Prehistoric owl image from France. Right:

Ancient vessel from China, 200 BC
In Greek mythology, the owl is firmly linked with Athena, the Goddess of wisdom (and in
later times, of battle). She is pictured with her owl on her shoulder, and some say this is
why the owl has come to be associated with wisdom; the scientific name for the owl is
even “Athene Noctua”. The city of Athens, Athena’s patron city, had an owl on its coins:
Left: Owl, Acropolis, Athens c.500 BC. Right: The owl
money of ancient Greece.
And so it is clear that the owl has, for thousands of years, symbolized wisdom, spirituality,
our intuitive self, and our connection to the source of our eternal Self.
It is undoubtedly a powerful occult and esoteric symbol, which brings us back to our
original point:
Is there a Secret Society that uses the owl as their symbol, and is the Bohemian Club their
current incarnation?
Many conspiracy theorists point out the existence and secretive nature of the Club, but few
dig deeper into the Club’s history.
Is the Bohemian Club an independent phenomenon, or is it actually the most recent

manifestation of a much bigger and older society?
With these questions in mind, we turn to look at another organization similar to the
Bohemian Club, and parallel in some ways: the National Press Club, whose logo features
a mysterious owl.space
National Press Club Owl

Above: The National Press Club is said to have been
established in 1908 by thirty-two newspapermen.
Their logo features a large owl perched on a book in
front of the capitol building.
The NPC is said to have been established in Washington DC in 1908, soon after elites and
journalists on the West Coast established the Bohemian Club. Most presidents have
lectured here, and both Carter and Reagan announced their candidacies for president
here.
“Through its doors have come presidents, premiers, kings and queens, Cabinet
secretaries, senators and House members, movie stars and sports heroes, titans of
business and finance – just a who’s who of the 20th and the 21st centuries. Here they
have found a willing audience of reporters waiting to grill them with questions, interpret
what they say and send the news around the world.”
—National Press Club website

Mystical symbolism in NPC’s logo reveals influence from Bohemian Grove’s Owl Shrine.
But is there a link? If so, what exactly is the connection?
Unlike the Bohemian Grove, there are no known “occult” ceremonies attached to the NPC.
However, unique and mysterious owl symbolism is certainly present here.
Above: Famous journalist Helen Thomas at NPC
(Photo Courtesy of Terry Hill).
A March 28, 2010 article titled Owls Honor Helen Thomas; Everyone has a Hoot said
things like:
“Helen Thomas, dean of the White House press corps, was inducted into the Order of the
Owls Thursday night during the Spring Hoot of the Club’s Silver Owls.”
 “The ceremonial award bestowed on Thomas recognizes “birds of a unique species,

weathered and wise, who have nested at the National Press Club and demonstrated
that they give a hoot for Washington journalism.”
 “Mae Scanlan, wife of Golden Owl Tom Scanlan, produced a batch of parodies for both
the Silver Owls and the Owlets quartets. The young members responded with “We’ll be
Loving You, Owl-ways.”
 “Ten new Golden Owls (members of 50 years) were recognized, along with 40 Silvers
(members for 25 years).”
Walt Disney Owl Mystery

The owl symbol is also prevalent among Walt Disney’s most important films. It is said that
an owl in one form or another mysteriously appears in every Disney picture. Not only that,
but the owl even appears “clandestinely” in at least one Disney picture, Snow White and
the Seven Dwarfs (1937). When Snow White enters the cottage of the seven dwarfs, the
esoteric owl imagery is overwhelming. It’s worth watching.Within a 20 minute time span
owl “backgrounds” appear many dozens of times.
Left: Owl symbols form the landing at the top of the
stairs. Right: Owl symbols form the stairs.
Left: The image of a flying owl forms the top of a

coat-rack. Right: The image of owls forming the
staircase.
Left: Two owls appear above the doorway. Right: An
owl forms part of a wall-support.
Above: An owl forms part of the headboard of one of

the dwarf’s beds
It is said that as a teenager Disney joined the Order of DeMolay, a Masonic youth
organization. He is widely quoted as saying:
“I feel a great sense of obligation and gratitude toward the Order of DeMolay for the
important part it played in my life. Its precepts have been invaluable in making decisions,
facing dilemmas and crises. DeMolay stands for all that is good for the family and for our
country. I feel privileged to have enjoyed membership in DeMolay.”
— Walt Disney
There are many more interesting esoteric connections between Disney and Masonry and
the Occult. For example, here is an image of Disney at the center of an occult Triptych, the
architectural three-in-one pattern which relates the pinnacle of Masonic perennial wisdom,
and which is only now being rediscovered:
The Schlaraffia Owl
Established in Prague, Bohemia, 1859, thirteen years before the Bohemian Club, the
Schlaraffia was a group of actors, writers, artists and musicians (similar to the Bohemian
Club); and they too (like the Bohemian Club) use an owl as their talisman.
This society, called Schlaraffia, is a fraternal body with lodges spread globally, on every
continent. Artists, writers, teachers and academics in the famously elite city of Prague
founded the Schlaraffia society in 1859. Its aim was to become a place where men could
cast their worries away and revel in art, humor and friendship.
Customs, pomp and ceremony from medieval times are used at Schlaraffia sessions, the
group maintains a relationship to civic societies of the Medieval Age. The Society’s
talisman is an owl, called UHU in German, said to be the emblem of wisdom. The Greeks
and Romans believed the owl implied prudence and wisdom.
“Schlaraffia is a worldwide German-speaking society…The Schlaraffen…meet in midwinter

(October 1 – April 30) once per week in their Schlaraffen castle (equipped in the style of a
knight’s tavern from the Middle Ages) for “Sippungen” (gatherings which take place in the
fixed ceremonial form of a knight’s play)…
Reychs currently exist in Germany, Austria, Switzerland, Italy, Spain, France, Belgium,
Sweden, the USA, Canada, Mexico, Venezuela, Columbia, Ecuador, Brazil, Argentina,
Thailand, South Africa and Austrailia… The approximately 280 “reychs” (local clubs) stay
in close contact with one another. Each Schlaraffe is always welcome in every reych in the
world.
The total number of Schlaraffen amounts to about 11,000…Their ‘mascot’ is the eagle
owl…symbolizing wisdom, virtue and humor (the owl itself presents knowledge and
wisdom) and they bear some resemblance to Freemasons.”
—Wikipedia
Of the three goals of Schlaraffia, the most important one is the sincere friendship that glues
the membership. Similar to the Bohemian Club’s concept of destroying “Care” (“the release
of everyday mundane concerns for the brotherhood of Bohemian friendship” [Phillips, op.
cit., p. 46]), the Schlaraffia say: “As soon as he [the Schlaraffian] enters a ‘castle’ [or
‘Temple’] and comes under the rule of Uhu, the great horned owl of Minerva, he is
expected to forget all foolish things of everyday life.”
The place of the Schlaraffia assemblies is called Burg. The ornate meeting room is
dominated by a throne and wall hangings that include banners, coats of arms and crests. A
prospective member is greeted by men attired in cloaks heavily decorated with medals,
wearing helmets and carrying swords.space
Mysterious Yale Owl Architecture
At about the same time as the Shlaraffia’s founding, a mysterious and inexplicable array of
owl symbols and images began appearing quietly, prominently and distinctly in the stones
and brickwork architecture at Yale University.
Above: Owl images written into the

stone architecture of Yale University’s campus.
Yale University is a private Ivy League university located in New Haven, Connecticut,
United States. Founded in 1701 in the Colony of Connecticut, the university is the third-
oldest institution of higher education in the country. Yale is widely considered one of the
most prestigious and selective universities in the world.
Above: Owl images written into the stone
architecture of Yale University’s campus.
Mysterious, looming towers, massive rock walls covered with ivy, grotesque stone carvings
leering from the eaves: most of the buildings at Yale look like they belong in the 11th
century. But Yale was established in 1701—not exactly the Middle Ages—and this makes
the neo-Gothic architecture that dominates Yale’s campus only a few hundred years old.

As we can see, images of owls are literally everywhere embedded in the stone. But, why?
What does the owl stand for? What does it symbolize? The easy answer, of course, is that
the owl is a symbol of “wisdom,” which is embodied by the university.
But is it possible that there’s more going on here?

It is said that Yale hired architect James Gamble Rogers (1867 – 1947) to give the school
an older feel. The University sought to imitate Britain’s venerable Oxford and Cambridge
Universities: established bastions of academic prestige.

Although the Gothic style which dominates the rest of the campus was intended to inspire
fear and awe in cathedral-goers of yore, it has a distinctly 20th-century twist at Yale:
“Stone sculpture built into the walls of the buildings portray contemporary college
personalities such as a writer, an athlete, a tea-drinking socialite, and a student who has
fallen asleep while reading. Similarly, the decorative friezes on the buildings depict
contemporary scenes such as policemen chasing a robber and arresting a prostitute (on
the wall of the Law School), or a student relaxing with a mug of beer and a cigarette. The
architect, James Gamble Rogers, faux-aged these buildings by splashing the walls with
acid, deliberately breaking their leaded glass windows and repairing them in the style of
the Middle Ages, and creating niches for decorative statuary but leaving them empty to
simulate loss or theft over the ages.”
— Wikipedia
Unlike most neo-Gothic architecture, which is built with steel frames and merely reinforced
with stone exteriors, Yale’s Gothic buildings are, for the most part, built with solid stone
instead. This tells us that the stonemasons (i.e., read “Freemasons”) who designed and
built Yale’s buildings were advanced, perhaps even gifted. The 216-foot Harkness Tower
was once the tallest free-standing stone structure in the world, before worried architects
decided to reinforce it.
Is it possible that the owl symbols rampant in the art and architecture of Yale have a
deeper, more esoteric meaning? Are the Yale owls actually symbols of a S.O.S. that was
there at the very beginning of this now-famous Ivy League institution? Is the owl in the
architecture somehow connected to the later institutions of the Bohemian Club and the
National Press Club?
TO BE CONTINUED
Richard Cassaro’s new book, The Missing Link, explores the
meaning, transformations and propagation of the ancient world’s most
important religious icon. His first book, Written in Stone, is a wide-
ranging exploration of hitherto-unknown connections among
Freemasons, medieval cathedral builders and the creators of
important ancient monuments, in support of his theory that a spiritually
advanced mother culture, lost to history, is behind many of the world’s
architectural and artistic traditions.
Prior to the publication of Written in Stone, Cassaro enjoyed a successful career as a U.S.
correspondent, professional journalist, and photo researcher for Rizzoli Publications, one
of the world’s leading media organizations. Cassaro, who is a graduate of Pace University
in New York City, has examined first-hand the ancient ruins and mystical traditions of
Egypt, Mexico, Greece, Italy, Sicily, France, England, India, Peru and Spain; he has
lectured on his theories to great acclaim in the United States, Egypt, Italy, Spain and Peru.
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Sigil (Magic)
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Goetic seals from The Lesser Key of Solomon
A sigil (/ˈsɪdʒəl/; pl. sigilla or sigils) is a symbol used in magic. The term has usually referred to a type of
pictorial signature of an Angel or other entity; in modern usage, especially in the context of chaos magic, it refers
to a symbolic representation of the magician's desired outcome.
Contents
 1History
 2Austin Osman Spare
 3Chaos magic
 4See also
 5References
o 5.1Footnotes
o 5.2Sources
History[edit]
72 seals from the Lesser Key of Solomon
The term sigil derives from the Latin sigillum, meaning "seal".[1]
In medieval ceremonial magic, the term sigil was commonly used to refer to occult signs which represented
various angels and demons which the magician might summon.[1] The magical training books
called grimoires often listed pages of such sigils. A particularly well-known list is in The Lesser Key of Solomon,
in which the sigils of the 72 princes of the hierarchy of hell are given for the magician's use. Such sigils were
considered to be the equivalent of the true name of the spirit and thus granted the magician a measure of control
over the beings.[2]
An excerpt from Sefer Raziel HaMalakh featuring various magical sigils (or ‫סגולות‬, segulot, in Hebrew).
A common method of creating the sigils of certain spirits was to use kameas (magic squares) — the names of
the spirits were converted to numbers, which were then located on the magic square. The locations were then
connected by lines, forming an abstract figure.[3]
The word sigil... has a long history in Western magic. The members of the Golden Dawn were perfectly familiar
with it (″combining the letters, the colours, the attributions and their Synthesis, thou mayest build up a telesmatic
Image of a Force. The Sigil shall then serve thee for the tracing of a Current which shall call into action a certain
Elemental Force″) and it was used in the making of talismans. The sigil was like a signature or sign of an occult
entity.[4]
The use of symbols for magical or cultic purposes has been widespread since at least the Neolithic era. Some
examples from other cultures include the yantra from Hindu tantra, historical runic magic among the Germanic
peoples, or the use of veves in Voudon.
Austin Osman Spare[edit]

The artist and occultist Austin Osman Spare developed his own unique method of creating and using sigils,
which has had a huge effect on modern occultism. Essentially, Spare turned the Medieval practice of using sigils
to evoke entities on its head, arguing that such supernatural beings were simply complexes in the unconscious,
and could be actively created through the process of sigilization.[5][4]
The big difference with Spare's method was that he dispensed with pre-existing esoterica and external beliefs,
so the sigils were no longer for controlling traditional demons, angels and what-have-you, but instead for
controlling forces in the unconscious psyche of the individual operator.[4]
Spare's technique became a cornerstone of chaos magic.[6] It also influenced the artist Brion Gysin, who
experimented with combining Spare's sigil method with the traditional form of magic squares:
Calligraphic magick squares were one of the techniques most commonly applied by Gysin. He would reduce a
name or an idea to a "glyph" and then write across the paper from right to left, turn the paper and do the same
again, and so on, turning the paper around and around to create a multi-dimensional grid... The same
techniques and consciously driven functional intention also permeated his paintings. In a very real sense,
everything he created was an act of sorcery.[7]
Chaos magic[edit]
Main article: Chaos magic § sigils
A modern personal sigil.
In chaos magic, following Spare, sigils are most commonly created by writing out the intention, then condensing
the letters of the statement down to form a sort of monogram. The chaos magician then uses the gnostic state to
"launch" or "charge" the sigil – essentially bypassing the conscious mind to implant the desire in the
unconscious.[8][6] To quote Ray Sherwin:
The magician acknowledges a desire, he lists the appropriate symbols and arranges them into an easily
visualised glyph. Using any of the gnostic techniques he reifies the sigil and then, by force of will, hurls it into his
subconscious from where the sigil can begin to work unencumbered by desire.[8]
After charging the sigil, it is considered necessary to repress all memory of it: in the words of Spare, there should
be "a deliberate striving to forget it".[5]
In modern chaos magic, when a complex of thoughts, desires and intentions gains such a level of sophistication
that it appears to operate autonomously from the magician's consciousness, as if it were an independent being,
then such a complex is referred to as a servitor.[9][10] When such a being becomes large enough that it exists
independently of any one individual, as a form of "group mind", then it is referred to as an egregore.[11][12]
Later chaos magicians have expanded on the basic sigilization technique. Grant Morrison coined the
term hypersigil to refer to an extended work of art with magical meaning and willpower, created using adapted
processes of sigilization. His comic book series The Invisibles was intended as such a hypersigil.[6] Morrison has
also argued that modern corporate logos like "the McDonald's Golden Arches, the Nike swoosh and the Virgin
autograph" are a form of viral sigil:
Corporate sigils are super-breeders. They attack unbranded imaginative space. They invade Red Square, they
infest the cranky streets of Tibet, they etch themselves into hairstyles. They breed across clothing, turning
people into advertising hoardings... The logo or brand, like any sigil, is a condensation, a compressed, symbolic
summoning up of the world of desire which the corporation intends to represent... Walt Disney died long ago but
his sigil, that familiar, cartoonish signature, persists, carrying its own vast weight of meanings, associations,
nostalgia and significance.[6]
A shoal of sigils
Gordon White developed the technique of shoaling, which involves launching a group of sigils for a set of related
aims. For example, instead of sigilizing for "money", sigilizing for a pay rise, new business clients, a promotion,
influential new contacts, budget reallocation for your department, etc., all of which help "shift the probability"
towards the overall aim.[13][14] White also developed the technique of the robofish, which consists of including a
sigil for something that the chaos magician knows will definitely happen, to "lead" the rest of the shoal.[15]
See also[edit]
Look up sigil in
Wiktionary, the free
dictionary.
Wikimedia Commons has
media related to Sigils.
 List of sigils of demons

 Apotropaic mark
 Runic magic
 Sigil of Baphomet
 Sigillum Dei
 Veve
 Yantra
References[edit]
Footnotes[edit]
1. ^ Jump up to:a b Weschcke, Carl Llewellyn & Slate, Joe H. The Llewellyn Complete Book of Psychic Empowerment
2. ^ Lemegeton Clavicula Salomonis: The Lesser Key of Solomon, Detailing the Ceremonial Art of Commanding
Spirits Both Good and Evil; ed. Joseph H. Peterson; Weiser Books, Maine; 2001. p.xi-xvii
3. ^ Greer, John Michael (2003). The New Encyclopedia of The Occult. Llewellyn Worldwide. p. 438. ISBN 1-56718-
336-0.
4. ^ Jump up to:a b c Baker, Phil. Austin Osman Spare
5. ^ Jump up to:a b Spare, Austin Osman. The Book of Pleasure
6. ^ Jump up to:a b c d Morrison, Grant. Pop Magic!
7. ^ P-Orridge, Genesis. Magick Squares and Future Beats
8. ^ Jump up to:a b Sherwin, Ray. The Book of Results
9. ^ Hine, Phil. Prime Chaos
10. ^ Marik. Servitors
11. ^ Rysen, Fenwick The Fluid Continuum
12. ^ Emerson, Gabriel. Egregore Definition Compilation
13. ^ White, Gordon Sigils Reboot
14. ^ White, Gordon. Shoaling
15. ^ White, Gordon. Magic Secrets as Taught by Robot Fish
Sources[edit]
 The Book of Pleasure. Austin Osman Spare ISBN 1-872189-58-X

 Liber Null and Psychonaut. Peter Carroll ISBN 0-87728-639-6
 Baker, Phil (2011). Austin Osman Spare: The Life and Legend of London's Lost Artist. Strange
Attractor. ISBN 9781907222016.
 Emerson, Gabriel (1997). "Egregore Definition Compilation". Chaos Matrix. Retrieved June 7, 2018.
 Hine, Phil (1998). Prime Chaos: Adventures in Chaos Magic. New Falcon Publications. ISBN 9781609255299.
 Marik (1998). "Servitors: Part Two of Sigils, Servitors, and Godforms". Chaos Matrix. Retrieved June 7, 2018.
 Morrison, Grant (2003). "Pop Magic!". In Metzger, Richard (ed.). Book of Lies: The Disinformation Guide to Magick and
the Occult. Red Wheel Weiser. ISBN 9780971394278.
 P-Orridge, Genesis (2003). "Magick Squares and Future Beats". In Metzger, Richard (ed.). Book of Lies: The
Disinformation Guide to Magick and the Occult. Red Wheel Weiser. ISBN 9780971394278.
 Peterson, Joseph H. (ed.), The Lesser Key of Solomon: Lemegeton Clavicula Salomonis (York Beach, ME: Weiser
Books, 2001). Considered "the definitive version"
 Rysen, Fenwick (1999). "The Fluid Continuum --or-- What the f***'s an Egregore?". Chaos Matrix. Retrieved June
7, 2018.
 Sherwin, Ray (1992). The Book of Results. Revelations 23 Press. ISBN 9781874171003.
 Spare, Austin Osman (2013). The Book of Pleasure: The Psychology of Ecstasy. Lulu Press. ISBN 9781105502996.
 Weschcke, Carl Llewellyn; Slate, Joe H. (2011). The Llewellyn Complete Book of Psychic Empowerment: A
Compendium of Tools & Techniques for Growth & Transformation. Llewellyn Worldwide. ISBN 9780738729862.
 White, Gordon (2012). "Magic Secrets as Taught by Robot Fish". Rune Soup. Retrieved June 7, 2018.
 White, Gordon (2010). "Shoaling: Making Sigil Magic more Awesome Since 2010". Rune Soup. Retrieved June 7, 2018.
 El, Moorpheus (2011). "Secret of Secrets: Reality is Programmable". Matrix-Five. Retrieved August 28, 2011.
Chaos Magic
List of sigils of demons

The following is a list of attributed sigils or pentacles of demons. In demonology, sigils are
pictorial signatures attributed to demons, angels, or other beings. In the ceremonial magic of the Middle Ages,
sigils were used in the summoning of these beings, and were the pictorial equivalent to their true name.
This list is incomplete; you can help by expanding it.
Demon name Image Origins of the seal
Bael Lesser Key of Solomon[1][2]
Agares Lesser Key of Solomon[1][2]
Vassago Lesser Key of Solomon[1][2]

Gamigin Lesser Key of Solomon[1][2]
Marbas Lesser Key of Solomon[1][2]
Valefar Lesser Key of Solomon[1][2]
Aamon Lesser Key of Solomon[1][2]
Barbatos Lesser Key of Solomon[1][2]
Paimon Lesser Key of Solomon[1][2]

Buer Lesser Key of Solomon[1][2]
Gusion Lesser Key of Solomon[1][2]
Sitri Lesser Key of Solomon[1][2]
Beleth Lesser Key of Solomon[1][2]
Leraje Lesser Key of Solomon[1][2]
Eligos Lesser Key of Solomon[1][2]

Zepar Lesser Key of Solomon[1][2]
Botis Lesser Key of Solomon[1][2]
Bathin Lesser Key of Solomon[1][2]
Sallos Lesser Key of Solomon[1][2]
Purson Lesser Key of Solomon[1][2]
Morax Lesser Key of Solomon[1][2]

Ipos Lesser Key of Solomon[1][2]
Aim Lesser Key of Solomon[1][2]
Naberius Lesser Key of Solomon[1][2]
Glasya-Labolas Lesser Key of Solomon[1][2]
Bune Lesser Key of Solomon[1][2]
Ronove Lesser Key of Solomon[1][2]

Berith Lesser Key of Solomon[1][2]
Forneus Lesser Key of Solomon[1][2]
Foras Lesser Key of Solomon[1][2]
Asmodeus Lesser Key of Solomon[1][2]
Gaap Lesser Key of Solomon[1][2]
Furfur Lesser Key of Solomon[1][2]

Marchosias Lesser Key of Solomon[1][2]
Stolas Lesser Key of Solomon[1][2]
Phenex Lesser Key of Solomon[1][2]
Halphas Lesser Key of Solomon[1][2]
Malphas Lesser Key of Solomon[1][2]
Raum Lesser Key of Solomon[1][2]

Focalor Lesser Key of Solomon[1][2]
Vepar Lesser Key of Solomon[1][2]
Sabnock Lesser Key of Solomon[1][2]
Shax Lesser Key of Solomon[1][2]
Vine Lesser Key of Solomon[1][2]
Bifrons Lesser Key of Solomon[1][2]

Vual Lesser Key of Solomon[1][2]
Haagenti Lesser Key of Solomon[1][2]
Crocell Lesser Key of Solomon[1][2]
Furcas Lesser Key of Solomon[1][2]
Balam Lesser Key of Solomon[1][2]
Allocer Lesser Key of Solomon[1][2]

Caim Lesser Key of Solomon[1][2]
Murmur Lesser Key of Solomon[1][2]
Orobas Lesser Key of Solomon[1][2]
Gremory Lesser Key of Solomon[1][2]
Ose Lesser Key of Solomon[1][2]
Amy Lesser Key of Solomon[1][2]

Orias Lesser Key of Solomon[1][2]
Vapula Lesser Key of Solomon[1][2]
Zagan Lesser Key of Solomon[1][2]
Valac Lesser Key of Solomon[1][2]
Andras Lesser Key of Solomon[1][2]
Haures Lesser Key of Solomon[1][2]

Andrealphus Lesser Key of Solomon[1][2]
Kimaris Lesser Key of Solomon[1][2]
Amdusias Lesser Key of Solomon[1][2]
Belial Lesser Key of Solomon[1][2]
Seere Lesser Key of Solomon[1][2]
Dantalion Lesser Key of Solomon[1][2]

Andromalius Lesser Key of Solomon[1][2]
Astaroth Lesser Key of Solomon[1][2]
Lucifer Grimorium Verum
Baphomet Church of Satan[3]
See also[edit]
Wikimedia Commons has
media related to Sigils of
demons.
 List of demons in the Ars Goetia

 List of occult symbols
 List of theological demons
References[edit]
1. ^ Jump up
to:a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo
bp bq br bs Crowley, Aleister; Mathers, Samuel Liddell MacGregor (1995), The Goetia: the lesser key of Solomon the
King : Lemegeton--Clavicula Salomonis Regis, book one (2 ed.), Red Wheel, ISBN 978-0-87728-847-3
2. ^ Jump up
to:a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo
bp bq br bs Peterson, Joseph H. (2001), The lesser key of Solomon: lemegeton clavicula Salomonis,
Weiser, ISBN 978-1-57863-220-6

3. ^ The History and Origin of the Sigil of Baphomet and its Use in the Church of Satan, Church of Satan, Gilmore,
Magnus Peter H., 30 April, 2005
Brion Gysin
Brion Gysin
Born John Clifford Brian Gysin
19 January 1916
Taplow, England
Died 13 July 1986 (aged 70)

Paris, France
Occupation Painter, writer, poet
Nationality British/Canadian
Education Sorbonne, Downside School
Literary movement Beat, Postmodern, Asemic writing
Brion Gysin (19 January 1916 – 13 July 1986) was a painter, writer, sound poet, and performance artist born
in Taplow, Buckinghamshire.[1]
He is best known for his discovery of the cut-up technique, used by his friend, the novelist William S. Burroughs.
With the engineer Ian Sommerville he invented the Dreamachine, a flicker device designed as an art object to be
viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts,
creating calligraphic works inspired by the cursive Japanese "grass" script and Arabic script. Burroughs later
stated that "Brion Gysin was the only man I ever respected."[2]
Contents
 1Biography
o 1.1Early years
o 1.2Surrealism
o 1.3After World War II
o 1.4Morocco and the Beat Hotel
o 1.5Later years
 2Death
 3Burroughs on the Gysin cut-up
 4Influence
 5Selected bibliography
o 5.1Works
 6Sources
o 6.1Print
 6.1.1Primary sources
 6.1.2Secondary sources
 7See also
 8References
 9External links
Biography[edit]
Early years[edit]
John Clifford Brian Gysin was born at the Canadian military hospital in the grounds of Cliveden, Taplow,
England. His mother, Stella Margaret Martin, was a Canadian from Deseronto, Ontario. His father, Leonard
Gysin, a captain with the Canadian Expeditionary Force, was killed in action eight months after his son's birth.
Stella returned to Canada and settled in Edmonton, Alberta where her son became "the only Catholic day-boy at
an Anglican boarding school".[3] Graduating at fifteen, Gysin was sent to Downside School in Stratton-on-the-
Fosse, near Bath, Somerset in England, a prestigious college run by the Benedictines and known as "the Eton of
Catholic public schools". Despite, or because of, attending a Catholic school, Gysin became an atheist.[4]
Surrealism[edit]
In 1934, he moved to Paris to study La Civilisation Française, an open course given at the Sorbonne where he
made literary and artistic contacts through Marie Berthe Aurenche, Max Ernst's second wife.[5] He joined the
Surrealist Group and began frequenting Valentine Hugo, Leonor Fini, Salvador Dalí, Picasso and Dora Maar. A
year later, he had his first exhibition at the Galerie Quatre Chemins in Paris with Ernst, Picasso, Hans Arp, Hans
Bellmer, Victor Brauner, Giorgio de Chirico, Dalí, Marcel Duchamp, René Magritte, Man Ray and Yves Tanguy.
On the day of the preview, however, he was expelled from the Surrealist Group by André Breton, who ordered
the poet Paul Éluard to take down his pictures. Gysin was 19 years old. His biographer, John Geiger, suggests
the arbitrary expulsion "had the effect of a curse. Years later, he blamed other failures on the Breton incident. It
gave rise to conspiracy theories about the powerful interests who seek control of the art world. He gave various
explanations for the expulsion, the more elaborate involving 'insubordination' or lèse majesté towards Breton".[5]
After World War II[edit]
After serving in the U.S. army during World War II, Gysin published a biography of Josiah "Uncle Tom"
Henson titled, To Master, a Long Goodnight: The History of Slavery in Canada (1946). A gifted draughtsman, he
took an 18-month course learning the Japanese language (including calligraphy) that would greatly influence his
artwork. In 1949, he was among the first Fulbright Fellows. His goal: to research the history of slavery at the
University of Bordeaux and in the Archivo de Indias in Seville, Spain, a project that he later abandoned. He
moved to Tangier, Morocco, after visiting the city with novelist and composer Paul Bowles in 1950. In 1952/3 he
met the travel writer and sexual adventurer Anne Cumming and they remained friends until his death.[6]
Morocco and the Beat Hotel[edit]
Rue Git-le-Coeur, Paris; site of Beat Hotel
Plaque commemorating site of Beat Hotel
In 1954 in Tangier, Gysin opened a restaurant called The 1001 Nights, with his friend Mohamed Hamri, who was
the cook. Gysin hired the Master Musicians of Jajouka from the village of Jajouka to perform alongside
entertainment that included acrobats, a dancing boy and fire eaters.[7][8] The musicians performed there for an
international clientele that included William S. Burroughs. Gysin lost the business in 1958,[9] and the restaurant
closed permanently. That same year, Gysin returned to Paris, taking lodgings in a flophouse located at 9 rue Gît-
le-Coeur that would become famous as the Beat Hotel. Working on a drawing, he discovered a Dada technique
by accident:
William Burroughs and I first went into techniques of writing, together, back in room No. 15 of the Beat Hotel
during the cold Paris spring of 1958... Burroughs was more intent on Scotch-taping his photos together into one
great continuum on the wall, where scenes faded and slipped into one another, than occupied with editing the
monster manuscript... Naked Lunch appeared and Burroughs disappeared. He kicked his habit
with Apomorphine and flew off to London to see Dr Dent, who had first turned him on to the cure. While cutting a
mount for a drawing in room No. 15, I sliced through a pile of newspapers with my Stanley blade and thought of
what I had said to Burroughs some six months earlier about the necessity for turning painters' techniques directly
into writing. I picked up the raw words and began to piece together texts that later appeared as "First Cut-Ups"
in Minutes to Go (Two Cities, Paris 1960).[10]
When Burroughs returned from London in September 1959, Gysin not only shared his discovery with his friend
but the new techniques he had developed for it. Burroughs then put the techniques to use while
completing Naked Lunch and the experiment dramatically changed the landscape of American literature. Gysin
helped Burroughs with the editing of several of his novels including Interzone, and wrote a script for a film
version of Naked Lunch, which was never produced. The pair collaborated on a large manuscript for Grove
Press titled The Third Mind but it was determined that it would be impractical to publish it as originally
envisioned. The book later published under that title incorporates little of this material. Interviewed for The
Guardian in 1997, Burroughs explained that Gysin was "the only man that I've ever respected in my life. I've
admired people, I've liked them, but he's the only man I've ever respected." [11] In 1969, Gysin completed his
finest novel, The Process, a work judged by critic Robert Palmer as "a classic of 20th century modernism".[12]
A consummate innovator, Gysin altered the cut-up technique to produce what he called permutation poems in
which a single phrase was repeated several times with the words rearranged in a different order with each
reiteration. An example of this is "I don't dig work, man/Man, work I don't dig." Many of these permutations were
derived using a random sequence generator in an early computer program written by Ian Sommerville.
Commissioned by the BBC in 1960 to produce material for broadcast, Gysin's results included "Pistol Poem",
which was created by recording a gun firing at different distances and then splicing the sounds. That year, the
piece was subsequently used as a theme for the Paris performance of Le Domaine Poetique, a showcase for
experimental works by people like Gysin, François Dufrêne, Bernard Heidsieck, and Henri Chopin.
With Sommerville, he built the Dreamachine in 1961. Described as "the first art object to be seen with the eyes
closed",[13] the flicker device uses alpha waves in the 8-16 Hz range to produce a change of consciousness in
receptive viewers.
Later years[edit]
In April 1974, while sitting at a social engagement, Gysin had a very noticeable rectal bleeding. In May he wrote
to Burroughs complaining he was not feeling well. A short time later he was diagnosed with colon cancer and
began to receive cobalt treatment.[14] Between December 1974 and April 1975, Gysin had to undergo several
surgeries, among them a very traumatic colostomy, that drove him to extreme depression and to a suicide
attempt.[15] Later, in Fire: Words by Day - Images by Night (1975), a crudely lucid text, he would describe the
horrendous ordeal he went through.
In 1985 Gysin was made an American Commander of the French Ordre des Arts et des Lettres. He'd begun to
work extensively with noted jazz soprano saxophonist Steve Lacy. They recorded an album in 1986 with French
musician Ramuntcho Matta, featuring Gysin singing/rapping his own texts, with performances by Lacy, Don
Cherry, Elli Medeiros, Lizzy Mercier Descloux and more. The album was reissued on CD in 1993 by Crammed
Discs, under the title Self-Portrait Jumping.
Death[edit]
On July 13, 1986 Brion Gysin died of lung cancer. Anne Cumming arranged his funeral and for his ashes to be
scattered at the Caves of Hercules in Morocco.[16] An obituary by Robert Palmer published in The New York
Times described him as a man who "threw off the sort of ideas that ordinary artists would parlay into a lifetime
career, great clumps of ideas, as casually as a locomotive throws off sparks".[17] Later that year a heavily edited
version of his novel, The Last Museum, was published posthumously by Faber & Faber (London) and by Grove
Press (New York).
As a joke, Gysin had contributed a recipe for marijuana fudge to a cookbook by Alice B. Toklas; it was
unintentionally included for publication, becoming famous under the name Alice B. Toklas brownies.[18]
Burroughs on the Gysin cut-up[edit]

In a 1966 interview by Conrad Knickerbocker for The Paris Review, William S. Burroughs explained that Brion
Gysin was, to his knowledge, "the first to create cut-ups".
INTERVIEWER: How did you become interested in the cut-up technique?
BURROUGHS: A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years,
was, as far as I know, the first to create cut-ups. His cut-up poem, Minutes to Go, was broadcast by the BBC and
later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked
Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course,
when you think of it, The Waste Land was the first great cut-up collage, and Tristan Tzara had done a bit along
the same lines. Dos Passos used the same idea in 'The Camera Eye' sequences in USA. I felt I had been
working toward the same goal; thus it was a major revelation to me when I actually saw it being done.[19]
Influence[edit]
According to José Férez Kuri, author of Brion Gysin: Tuning in to the Multimedia Age (2003) and co-curator of a
major retrospective of the artist's work at The Edmonton Art Gallery in 1998, Gysin's wide range of "radical ideas
would become a source of inspiration for artists of the Beat Generation, as well as for their successors (among
them David Bowie, Mick Jagger, Keith Haring, and Laurie Anderson)".[20] Other artists include Genesis P-
Orridge, John Zorn (as displayed on the 2013's Dreamachines album) and Brian Jones.
Selected bibliography[edit]
Gysin is the subject of John Geiger's biography, Nothing Is True Everything Is Permitted: The Life of Brion
Gysin, and features in Chapel of Extreme Experience: A Short History of Stroboscopic Light and the Dream
Machine, also by Geiger. Man From Nowhere: Storming the Citadels of Enlightenment with William Burroughs
and Brion Gysin, a biographical study of Burroughs and Gysin with a collection of homages to Gysin, was
authored by Joe Ambrose, Frank Rynne, and Terry Wilson with contributions by Marianne Faithfull, John Cale,
William S. Burroughs, John Giorno, Stanley Booth, Bill Laswell, Mohamed Hamri, Keith Haring and Paul Bowles.
A monograph on Gysin was published in 2003 by Thames and Hudson.
Works[edit]
Prose Cinema
 To Master, A Long Goodnight: The History of Slavery in Canada (1946)  Scenario to Naked Lunch (1973)
 Minutes to Go (1960) Music
 The Exterminator (1960)
 The Process (1969)  Songs (hat ART, 181) with Steve Lacy
 Brion Gysin Let The Mice In (1973)  Junk (1985)
 The Third Mind (1978)  Self-Portrait Jumping (with Ramuntch
 Here To Go: Planet R-101 (first published 1982)
Painting
 Stories (1984)
 The Last Museum (1985)  Les deux faux interlocuteurs, Gradiva
Radio paysage (Surrealist ink drawings, 193
 Sahara Sand (1958)
 Pistol Poem (1960)  The Songs of Marrakech (1959)
 Permutations (1960)  Unit II pink, Unit III yellow, Unit IV ora
 I Am (1960)  Francis in the Beat Hotel (1962)
 No Poets (1962)  For a Stained-Glass Window in Rheim
 Junk is No Good Baby (1962)  Roller Poem (1971)
 Calligraffiti of Fire (1986)
Sources[edit]
Print[edit]
Primary sources[edit]
 Gysin, Brion (1946). To Master, A Long Goodnight: The History of Slavery in Canada. New York: Creative Age
Press.
 Gysin, Brion; Beiles, Sinclair; Burroughs, William S.; Corso, Gregory (1960). Minutes to Go. Paris: Two Cities
Editions.
 Gysin, Brion; Burroughs, William S. (1960). The Exterminator. San Francisco: Auerhahn Press.
 Gysin, Brion (1969). The Process. New York: Doubleday.
 Gysin, Brion; Burroughs, William S.; Sommerville, Ian (1973). Jan Herman (ed.). Brion Gysin Let The Mice In'.
West Glover, VT: Something Else Press.
 Gysin, Brion; Burroughs, William S. (1978). The Third Mind. New York: Viking.
 Gysin, Brion (1982). Here To Go: Planet R-101 (Interviews with Terry Wilson). London: Quartet Books.
 Gysin, Brion (1984). Stories. Oakland: Inkblot Publications.
 Gysin, Brion (1986). The Last Museum. New York: Grove Press.
 Gysin, Brion (2000). Who Runs May Read. Oakland/Brisbane: Inkblot/Xochi.
 Gysin, Brion (2001). Jason Weiss (ed.). Back in No Time: The Brion Gysin Reader. Wesleyan University Press.
Secondary sources[edit]
 Morgan, Ted. Literary Outlaw: The Life and Times of William S. Burroughs. New York and London: W.W. Norton
& Company, 1988, 2012. ISBN 978-0393342604
 Kuri, José Férez, ed. Brion Gysin: Tuning in to the Multimedia Age. London: Thames & Hudson, 2003. ISBN 0-
500-28438-5
 Geiger, John. Nothing Is True Everything Is Permitted: The Life of Brion Gysin. Disinformation Company,
2005. ISBN 1-932857-12-5
 Geiger, John. Chapel of Extreme Experience: A Short History of Stroboscopic Light and the Dream Machine. Soft
Skull Press, 2003.
 Ambrose, Joe, Frank Rynne, and Terry Wilson. Man From Nowhere: Storming the Citadels of Enlightenment with
William Burroughs and Brion Gysin. Williamsburg: Autonomedia, 1992
 Vale, V. William Burroughs, Brion Gysin, Throbbing Gristle. San Francisco: V/Search, 1982. ISBN 0-9650469-1-5
See also[edit]
 Asemic writing
 Brian Jones Presents The Pipes Of Pan At Jajouka
References[edit]
1. ^ Geiger, John (2005). Nothing Is True - Everything Is Permitted: The Life of Brion Gysin. The Disinformation
Company. p. 130. ISBN 1-932857-12-5.
2. ^ Burroughs, William. "Introduction." in Man from Nowhere: Storming the Citadels of Enlightenment with William
Burroughs and Brion Gysin. Ambrose, Joe, Frank Rynne, Terry Wilson. Dublin: Sublimin, 1992, n.p.
3. ^ Cf. John Geiger's biographical essay on Gysin titled, 'Brion Gysin: His Life and Times' in Brion Gysin: Tuning into
the Multimedia Age, ed. José Férez Kuri (London: Thames & Hudson, 2003), p. 201.
4. ^ John Geiger (2005). Nothing Is True-Everything is Permitted: The Life of Brion Gysin. Red Wheel/Weiser.
p. 5. ISBN 9781609258719. Brion's view of Creating soon changed. By age fifteen he was an avowed atheist
attending St. Joseph's Catholic High School.
5. ^ Jump up to:a b Cf. John Geiger, 'Brion Gysin: His Life and Times' in Brion Gysin: Tuning into the Multimedia Age,
p. 204.
6. ^ Richard Davenport-Hines, ‘Cumming, (Felicity) Anne (1917–1993)’, Oxford Dictionary of National Biography,
Oxford University Press, 2004; online edn, Oct 2009 accessed 11 April 2017
7. ^ Greene, Michelle, The Dream at the End of the World, (New York, 1991), p. 123, p. 201
8. ^ Geiger, John, Nothing is True, Everything is Permitted: the Life of Brion Gysin, (New York, 2005), p. 103
9. ^ In his essay "Cut-Ups: A Project for Disastrous Success," Gysin explains that "on January 5, 1958, I lost the
business over a signature given to a friendly American couple who 'wanted to help me out.' I was out with the shirt
on my back." in A Williams Burroughs Reader, ed. John Calder (London: Picador, 1982), p. 276.
10. ^ Brion Gysin: Cut-Ups: A Project for Disastrous Success, published in Evergreen Review and much later in [Brion
Gysin] Let the Mice In, Something Else Press, West Clover 1973; also in the A Williams Burroughs Reader, John
Calder (editor), Picador, London 1982, p. 272.
11. ^ The Guardian, January 18, 1997.
12. ^ From Palmer's forward to the novel published by The Overlook Press in 1987.
13. ^ Quoted on coverflap of Tuning in to the Multimedia Age.
14. ^ Cf. John Geiger, Nothing Is True - Everything Is Permitted: The Life of Brion Gysin.
15. ^ Cf. Ted Morgan, Literary Outlaw: The Life and Times of William S. Burroughs, p. 512.
16. ^ "Felicity Mason/Anne Cumming – A Brief Biography and Interview – Jennie Skerl". European Beat Studies
Network. 2012-10-16. Retrieved 2017-04-12.
17. ^ Cf. John Geiger, 'Brion Gysin: His Life and Times' in Brion Gysin: Tuning into the Multimedia Age, p. 227.
18. ^ Biographer John Geiger writes that Gysin's restaurant, The 1001 Nights provided him "with an entrée into
Tangiers society. His Moroccan culinary delights even merited an entry in Alice B. Toklas's famous cookbook, with
a recipe for hashish fudge. Toklas, however, had no idea what the mysterious ingredient - cannabis - was,
protesting later 'of course I didn't know the Latin name'." Cf. John Geiger, 'Brion Gysin: His Life and Times' in Brion
Gysin: Tuning into the Multimedia Age, p. 213.
19. ^ Knickerbocker, Conrad, Burroughs, Williams S., 'The Paris Review Interview with William S. Burroughs' in A
Williams Burroughs Reader, ed. John Calder (London: Picador, 1982), p. 263.
20. ^ Kuri, Tuning in to the Multimedia Age, coverflap.
External links[edit]
Wikiquote has quotations
related to: Brion Gysin
 Works by or about Brion Gysin in libraries (WorldCat catalog)

 UBU Sound Article on Brion Gysin
 briongysin.co.uk article What Does Brion Gysin's Art Mean?
 Cutup The Burroughs & Gysin Non-Linear Adding Machine
 The Master Musicians of Jajouka led by Bachir Attar Official website
 Master Musicians of Joujouka Official website
 Village Voice Review of Back in No Time: A Brion Gysin Reader (2001)
 Perilous Passages Terry Wilson's account of his "lifetime apprenticeship" with Brion Gysin
 William Burroughs's letter on Gysin and Jajouka
 Interzone documentation on the Dream Machine and free Dream Machine plans
 Official website of FLicKeR a film on Brion Gysin and the Dream Machine based on Geiger's book
 The Third Mind at Le Palais de Tokyo by Joseph Nechvatal
 A page on the Self-Portrait Jumping album, including audio excerpts
 Brion Gysin Tribute

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