hidden secrets

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Categories: The Paranormal

You open your eyes and all that you can see is complete darkness. You seem to be in a room, a completely blacked out room, you turn your eyes one way, then the other, and nothing, complete ink black darkness…

In this completely dark room you cannot move easily, it almost feels like you have no limbs at all. But if you could, you are quite certain that you would not even be able to see your hands before your eyes, the entire room is pitch black. So, you instinctually do the most logical thing left to you, which is to try to hear something. But you cannot hear anything, and it is somehow even worse than this, it is like there is no sound at all and the only thing that you can hear is this buzzing or ringing, like that ringing in your ears that you can hear sometimes when it is completely silent, when there is absolutely no sound of any kind. And you think that this utter silence will drive you mad, it is driving you mad now, and that ringing, that ringing in your ears. But then you forget, and perhaps you dream, and then you remember where you are again, which is nowhere.

You are in a black on black room, it is a room without walls, but the walls are still there, they are the walls of your perception. All your external senses have been turned off. Moreover, you cannot feel anything, and it seems like you are floating, like gravity has been turned off, you are in a literal void. It is what you would imagine existence would be like at the center of some giant black hole somewhere, out there in cold space; you seem to be floating in lukewarm black space. This feeling is both liberating and relaxing in a certain way, but if it were to continue too long, it could easily become a kind of claustrophobic terror. If you have ever spent any time in an isolation tank, then you may be familiar with this feeling. This is the feeling of complete sensory deprivation, at least as complete as it can be using purely mechanical means. Interestingly, research into certain facets of sensory deprivation is not an easy task; It’s hard to find certain information. It could be that there is just not that much interest in this obscure topic, but it may also be the case that some of this lack of information is because many high level organizations have taken an interest in such devices, and some experimentation into these areas may have had some rather nefarious goals.

The modern version of such complete sensory deprivation is the sensory deprivation tank, which was created by Dr. John Lilly in 1954. This complete sensory deprivation chamber, which would later be known as a flotation tank, would completely change the field of personal awareness, and would allow for the scientific experimentation into incredible new facets of the human condition. But what is the big deal? What does it mean to turn off all your external senses? And why do it? Well, to answer this simply, we could refer to the floating man argument that was proposed by the medieval philosopher Ibn Sina.

His thought experiment proposed the idea of a man floating in a void, just like the one I have described above, one where this person is not able to perceive anything physically, where they are not even able to touch their body, wiggled their toes, let alone see hear taste or smell anything. In such a thought experiment, it is then proposed that this person might later reflect on what has just happened to him, and doing so they may conclude that in such an environment, in such a state of total sensory deprivation, they were able to realize that they were something, that there is something beneath the body. In removing the body and all of its perceptions, such a person might still find that there is something to them still, something beyond the body, and some might call that something the soul. Such an experience might allow them to directly perceive the difference, the duality, between the body and the soul. This is the direct perception of what in Cartesian philosophy would later become, the duality between the body and the mind. But this is only a mere scratch of the surface of what is possible when such complete sensory deprivation becomes achievable. And as I have mentioned, some of the past and perhaps even current experiments done in this area using sensory deprivation chambers, may help to bridge the incredible gaps in human consciousness. Such experiments may be able to perhaps even answer such questions as, what is the extent of human awareness and ability? Do humans have more sensual possibilities than just the physical senses? Could it be that we can use senses that are beyond, certainly far more powerful, than just the physical senses that we take so for granted during our physical life? And, are there other worlds? Other dimensions possible for us? Such experiments might even be able to show us how to begin to access other worlds, other dimensions, and in those worlds perhaps discover a new kind of life, a new kind of existence, in realities undreamt of. Such work if rigorously undertaken in all seriousness has the possibility to solve the riddle of other dimensions, and even the possibility of travelling to those fantastic places. Could this kind of experimentation have already begun?

Quite simply, yes it has! And in trying to prove the legitimacy of this, I would have you ponder the reason why it is so hard to find any concrete data on what has been done thus far. A simple question like, what is the longest that any person has been able to stay inside such a complete isolation chamber, Is very difficult to answer. And yet, there must have been experimentation in this area. But why no easily accessible data in the public sphere? This lack of information, of hardly any data on conclusive research by legitimate scientific bodies on the use of sensory deprivation chambers, should at the very least raise some questions within you. And certainly, you can be sure that such experimentation into isolation chamber endurance, combining pharmaceuticals and endurance sessions in such chambers, has and is being done. At most, in your research, you might find some information saying that Dr. John Lilly himself may have spent days in an isolation tank, hooked up to an Intravenous unit, but aside from this there is very little out there. So where is all the data? And what does the little that we know on this tell us about the kind of work that was being done, and the kind of work that might still be going on?

What I can tell you, through my own experience as an inner alchemist, is that an average person without training can only withstand such complete sensory deprivation for only so long. Eventually such a person will begin to lose their self identity. And that might be something that you should consider carefully, especially if we contemplate the possibility that such techniques might be used today by less than scrupulous individuals. But why is it that people can only handle so much sensory deprivation? Well, the reason for this is that so much of what we are is dependent on our external physical perceptions. The person that you are right now is not something born in isolation, but it is instead in many ways a reflection of the environment you perceived to be out there in accordance with your physical senses. We are what we remember ourselves to be, and if you think about the nature of memory, and how much of it relates and is reliant on external stimulus to maintain a kind of cohesive feeling of existence, of being alive as the particular person that you imagine and perceive yourself to be, then you can begin to understand just how intertwined you are to your environment. If I were to go to the kitchen and make myself something to eat for example, I would imagine that I would be able to follow some simple recipe without problem, but it is incredibly surprising how much I might forget.

I may make some wonderful culinary concoction, but it is quite possible that I will forget to put in salt in my masterpiece, or some other spice. Why did I forget?

Most likely because I did not see the salt, I did not pay attention to it. Our memory is cued to our physical experience, most often to our visual sense. We tend to remember to do things, not because we have laid our plans perfectly in some kind of software program in our minds, like a computer, but because we rely on our physical senses to perceive things, and then to remember to do those things that are related to those perceptions. Our memory is directly tied to our physical perception. If we are smart therefore, we may make sure that we have a written recipe, which is a visual written record of what we need to do in sequence. Without that recipe we may often make mistakes, forgetting one thing or another. Even our memory cues, which are different tricks you might say to try to remember a great deal of data, are usually based on some kind of visual cue, where we peg one particular thing to another, usually a striking visual image, and in that way we are able to remember thanks to our ability to not recall hard data on its own, but by being able to peg that data to certain very striking visual cues and then remembering a sequence thanks to that. In other words, our memories are completely tied to our perceptions, and for the average person such perceptions are most often only physical ones, our physical senses. So, without our physical senses, and without training, we forget, and in time we may even forget ourselves, at least the nature of who we are, our personality, and this can bring about a kind of insanity. If we forget ourselves, if we forget everything, then we become that floating man in the thought experiment referred to above. We may lose all sense of who we are, only knowing that we exist but nothing more. Under such duress, and I must call it duress for the average person, because in time without that symbiotic relationship between that existence and the outer physical environment, the structure of our self begins to experience a kind of identity onslaught. In time, lost in such a deprivation chamber, the self becomes unhinged in certain ways, unable to know itself because it cannot identify and remember itself. And its only option then becomes, to try to now maintain its fragile identity in this new environment, an environment where it can no longer rely on the symbiosis between itself and the stable physical world.

Unused mental muscles that are not able to create stable structures within the mind, means that the mind is in a constant state of flow, never finding rest. And incredibly, such a total lack of physical stimulus will in time open up new worlds, access to new dimensions, so that this fragile self must now contend with alien environments, dream positions, where wholly new realities must be contended with. Pushed into such an environment without training, a personality may be fractured. In the best of terms, such reawakening into a totally new internal environment may allow someone to begin to explore new dimensions in worlds beyond anything imaginable. But these must be controlled in short explorations at first, until the mind becomes powerful enough to withstand these experiences. The use of the sensory deprivation tank can become a key to future human evolution, and the starting place for a new kind of mind science. Taken seriously by a wider body of researchers, this relatively simple technology if used properly, can allow us to break the bonds that bind us to this limited reality we call physical existence. This of course is an ancient technology, and one that has been used by inner alchemist’s for thousands of years to break the walls of perception. But unlike the modern world that has become so reliant on external contraptions, they have developed and use techniques that do not rely on any external paraphernalia. Using such techniques, inner alchemists can break the limits that bind them to physicality. And in time may even move not just mentally but wholly, completely body and soul, into entirely different other worlds. But such a process must be done slowly, in a step-by-step fashion, so that a practitioner is able to grow in power slowly over time, and in that way dive deeper and deeper into the dark oceans of perception. In this way, they begin to re-create themselves from the ground up in an environment where the physical senses, where all physical experience has been completely left behind. Such adepts not only discover the true nature of their being, but also begin to fortify their true self, a self hidden from most, and one that I have referred to as the ghost in the machine.

I would encourage you to do your own research into sensory deprivation. You may find such research exasperating because of the lack of information, but any material that you can dig up may just open up your eyes to how seriously certain groups are taking this research. And it is my hope that through such a revelation, you can begin to truly realize just how powerful human beings actually are, how powerful you are as an individual. There are hidden secrets to be found out there to be sure, and this is one of the big ones. Research in this field by what can be termed very powerful and legitimate sources, is and will reveal not only the true nature of our existence, but our ability to truly go beyond this world and into vast other places, alien realities. And incredibly, the nature of this work will reveal to you that true exploration for us, for humanity, will not come about onboard some steel rocket, as we are slowly pulled away from the gravity of the earth, but that it will come through a new science of the mind. A new science might I add, that is no longer in its infancy. But you do not need to rely on hidden secrets and hard to find information, to begin your own quest into realms beyond the physical senses. As an inner alchemist myself I can tell you that you can begin your own adventures without any of the contraptions and the technology that the modern world is so reliant upon. You can learn to slowly gain your power using techniques that are as old as time. These techniques can allow you to break the bonds of physicality better than any of the modern methods used by such scientists. If you are interested, you can easily begin to incorporate inner alchemy techniques that are safe and provide a step by step procedural system to allow you to do the impossible. I have described these techniques in detail in the books, the way of the projectionist, and, out of body experiences quickly and naturally. In those books you will find everything that you need to move safely into spaces beyond any physical cage. There is a vast universe out there, and you can be a part of it. You can learn to regain the great power within you. I will leave a link to these books in the video description, and I would highly recommend them to anyone interested in trying to move beyond physical limitation.

There truly are great secrets in the world, and one of the greatest is the work that has been done, is currently still being done, into sensory deprivation, through the use of isolation tanks and other methodologies.
But there are older ways and more powerful ways, ways that do not require so much mechanics and external paraphernalia. These are safer ways that ultimately lead to far greater power, true power.

If you would like to know more about these methodologies used by inner alchemy, then I recommend the books:
Out of Body Experiences Quickly and Naturally
The Way of the Projectionist

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Categories: The Paranormal

I have often spoken about the fact, that I feel that H.P. Lovecraft was not just a horror fiction writer, but that he was indeed a dreamer, that is he was an active participant in astral planes, where he did directly perceive those things, that he wrote about.

I feel that this is the case, because of the intensity of his words, the descriptive nature of them, and the fact that he wrote about many things that he could not have known about, even if he was the prolific occult reader that some have spoken about in his biographies. There are many passages for example, that he used in his supposedly fiction writing, that demonstrated an understanding of occult topics that had few, perhaps no parallels, at that time. He often described what I would term a very deep and highly complex energetic truth, one that was really never found in the contemporary occult writings of the time, and that were not part, in their complexity and intensity, of the occult library that he supposedly possessed.

One such passage, which had an incredible amount of hidden truth, one again that is impossible to just uncover in some text, and write about so eloquently and with such intensity, without actually perceiving it yourself directly, is the small, and now famous couplet from the short story, the nameless city.

This quote is as follows:

“That is not dead which can eternal lie,

And with strange eons even death may die.”

I would personally say that there are three potential interpretations, to the intense energetic truth in this couplet, that incredibly, has been presented as mere fiction, by this amazing writer and practitioner. This couplet by the way, is a true key, hidden as pulp fiction. This is a doorway, a kind of inner portal, that can indeed open entrances into new and sometimes terrifying dimensions. This is as the author would say, part of a great spell from a magic book, that can open doors into odd dimensions, where colossal and monstrous things lie dreaming.

But to get back to the interpretation of this couplet, I would say that there are three interpretations, definitions, of what this couplet actually means, and these explanations could be divided as:

-a regular interpretation for the average reader

-the definition of what a dark outer titan is, by a practising occultist, perhaps a dark practitioner

-and finally, an interpretation or definition of what this all means, for an inner alchemist from my current

We may start by trying to see things just from a fictional writer’s perspective, which is the most common perspective, being that it would be what you would imagine the author is trying to say to the average reader, what he is implying in relatively simple rational terms. That is, what he might be saying to a normal reader, trying to use rational words, to describe something that in its vastness and power, is beyond rationality itself.

What I feel he is trying to say to the average reader, is that there is this colossal and seemingly odious thing, this giant, this Titan, that in its sheer size and horror, has existed so long, and due to the very nature of it, the enormous-ness of it, the size of it, the alien character of it, it does not seem to be touched in some way by the entropy of this world. That through such sheer alien and foul power, power that goes beyond the puny rational understanding of humanity, this thing could exist so long in its lumbering, in its not so quiet dreaming, that eventually through the course of eons, and not just any time, but through the passage of an eternity of odd ages, this thing would even be able to outlast death itself, so that it could see death itself die, and it would continue past death. So that through the sheer massive power of it, the dark magic of it, it would in the end outlive death itself.

That is the first interpretation, and in and of itself, it is an amazing explanation of something that rationality has no equal in the average world, and all of this done in two lines. Magnificent writing really.

Now, why I say that H.P. Lovecraft was more than just an average writer with a great imagination, is that the intensity of the description given here, is only possible for someone who is not just a great writer, but also someone who can directly perceive, what he is trying to describe. I feel that this is so, because of the intensity of the writing, of the amount of information packed into every small bit of it. This could only be achieved by a seer, someone who could directly perceive, using what I referred to as the inner senses, or someone who has mastered the art of astral travel, which I refer to as being a projectionist.

So, in accordance with the power of such a direct seer of such a titan, then we can further add to the above explanation, to those that want a greater than just average and common understanding of H.P. Lovecraft, by saying that such a Titan, such a horror, as the one stumbled upon by the protagonist in the nameless city, is a giant of such monumental proportions, that it occupies space not only in this three dimensional reality, but also in other dimensions. What I mean by this is that this thing that the protagonist has found, is so large, that it basically goes beyond one place, and into multiple dimensions.

This is an incredibly difficult thing to describe, for anyone, but for a master writer like H.P. Lovecraft, his use of incredibly descriptive words, plus his ability to leave certain things, certain particular things, to the imagination, is incredibly potent, and it is indeed a kind of magic. He for example, says that there is this lost city, which in rational terms can be defined as a contained geography of certain proportions understandable in rational terms. But, he also says that within this place there is something that is so big, that it goes beyond the geography of this particular physical place alone. He is saying that there is this thing within this place, that is so heavy, that has so much of a kind of weight of intensity, a horrific weight he adds, that it basically defies the average understanding of the term colossal. As such this thing is so big in a way, it is so heavy in its evil, that it exists in places beyond this place, it exists basically in other dimensions. It is not just on in the city, it is not just in the physical body of the place itself, it is beyond all that, the heinousness of it is beyond physicality.

Due to the sheer size of it, which as I have pointed out is beyond physical, this nameless evil seems to be able to live eternally, in that morbid sleep of it, and because of this colossal multidimensional nature of it, it is not affected in some way by the entropy of this world. In other words, the alien-ness of it is something, that a seer of it, a true seer, using average words, might describe as multidimensional, or as something that is beyond the eons of time.

He alludes to this multidimensional reality, by saying that it cannot be touched somehow, that it can eternally lie without corruption. And in this eternal and unaffected sleep, it can lie so long that it can even cheat death of death itself. He is saying in his general work, that there are Titans out there, in the infinity of the cosmos, Titans which I argue he must have seen directly himself, because of the sheer force and descriptive detail of his writing, that in their colossal nature, these titans, are in a way beyond average death itself. And he says the massive weight of this Titan is such, that it defies dimensions, and due to that force of gravity, like a kind of singularity of evil, it cannot die in this dimension.

This is where his descriptions end in a way using regular terms, but we could continue from an occult, hidden, inner point of view, from an inner perspective, as a continuation from his seeing to my seeing, using the inner senses and the art of projection, in the way of my current as I write about in my books. And from that extended point of view, we could say that the seeing of such inner practitioners does indeed reveal, that such massive Titans do indeed exist out there, and that they do indeed defy what might be termed physical death, through their sheer colossal nature, through their ability to participate simultaneously in many dimensions, and through that force, through that power, that massive intensity, they defy what might be termed natural entropy, and the laws of any one, particular dimension.

And we may go even further, in that extended interpretation of this famous couplet, by considering the point of view and the seeing and doing of a dark occult practitioner. From that perceptive point we could say, that after a lifetime of struggle, such a practitioner, may be able to finally see the true nature of energetic reality, the true nature of the cosmos, and further they may then be able to finally perceive for themselves directly, those outer Titans that H.P. Lovecraft described throughout his work. As such, continuing with such dark occult practices, such a practitioner might continue in their occult efforts, by trying to duplicate the power of such Titans, in whatever way they can.

And they do so, being that such practitioners are indeed real, they do, try to become just like their master, through dark techniques that allow them to gain weight, more and more mass, more gravity, dark intensity, so that they too can eventually begin to occupy different dimensions, and never leave this dimension fully. They then may leave a corpus of themselves here, just like that repellent viewless aura, that encompassed that timeless city that the protagonist found, in the story, the nameless city.

The nature of such dark practitioners is such that, in their struggle to duplicate those outer Titans, a part of them always maintains its tenacious, terrible, hold on this three-dimensional reality, and uses the great desire of the flesh to be found here, the way of the flesh here, the way of the flesh, to bind aspects of themselves to this dimension, and yet move on to others, as well. And in doing so, through dark means, through weight, they try to acquire more and more energy, like fabled vampires, but more. I say more because of the intensity of the technique, of the complexity of it. And in that way, through the acquisition of such power and such weight, always more and more weight, it is their hope to one day defy death in the same way that the Titan from this fantastic tale of horror does, written and described by someone who I believe was indeed a seer, a direct perceiver, of such monstrous entities that are indeed real, not fiction.

Further, and in a final definition of what this couplet can mean, we could say that through such perceptions, and the experiences of those dark practitioners just described, other practitioners, through their particular seeing in accordance with all that can be witnessed, may in their interpretation of all that seeing and doing, move along in a different direction, a direction of lightness as opposed to weight. Instead of binding themselves to this dimension through the love of the flesh, the endless pain and pleasure, the desire, the dark dreaming of that titan from the nameless city, they instead try to let go of all weight and in that fashion move into different dimensions, through lightness as opposed to great weight, and in that manner conquer death not through weight, but through true freedom.

This then is the definition of that famous couplet taken to its furthest point, beyond the common and into the realm of those that know. And this knowing says that, while there are those of an order that try to directly duplicate the weight of the very real outer Titans, there are those that in seeing the folly of them, in the folly of those dark practitioners, decided to use that seeing and that experience, to move in a different way, a contrary way, a way of lightness as opposed to great mass.

In conclusion, I can say that those that can see, will always be hindered by the rational, by the words that one needs to use to describe those things that are outside the scope of those words themselves. Individuals like H.P. Lovecraft in their great gift for words, will squeeze such words and create utter wonder, true magic from them. But those words will always be a kind of limiter as to what is descriptively possible. And yet, within those words, written by a seer, or projectionist, a true practitioner, a true artist such as H.P. Lovecraft, there will always be a kind of intensity in such work, that will flow beyond those words themselves, that will add a kind of intensity or way to them that is very very hard to describe, in rational terms.

Such practitioners and such artists, therefore, will always be hindered because words were never truly designed, to describe those odd angles that they can perceive directly through their inner senses. Such true practitioners may even need to resort to calling their work, their revelation, their magic, fiction.

And due to the fact that the nature of such inner travels is so all-consuming to the psyche, such practitioners will almost always be lonely souls, existing at the fringe of the common world. As such, they may need to try to survive in the human world in any way that they can, at that outer edge, being that such seers cannot function in some crucial ways in the common world. Such powerful seers or projectionists, lost in an alien reality of multiple dimensions, being that they have had access to other dimensions, other dimensions that may have changed them, made them different , not wholly of this human world any longer, they may need to use those very words that they may find so challenging, so limiting, to try to survive in this world.

They may need to resort to any means necessary, to survive in a world, perhaps even calling themselves something that they are not, like fiction writers, writers of weird tales perhaps.

H.P. Lovecraft needed to become a writer of supposed fiction, a writer of strange and weird horror stories. Stories so strange and so new in their perspective, so intense in a hard to define way, that they would never be truly and fully appreciated during his lifetime. But those words, those simple and eloquent words, still managed to have so much intensity, that in time the weight of them would indeed begin to change the face of how humanity perceives itself, and the greater cosmos.

And that is the odd way of magic, and that is the way of intensity. The body may die, but the words live on, and through those words a part of what once was exists still, it gains weight through the mass of human attention, and through that mass, it begins to exist in more than just one dimension, and through that increasing intensity of time and through that power, perhaps in the course of odd eons, that which lies eternal in the minds of humanity, may even, watch death, die.

One possible key to a new science of the mind…and its already here!

H.P. Lovecraft was not writing fiction