Gate of 9 workings vol. 2: Katalepsis & Methods of sigilization
          ( firing off sigils using an inhibitory method )


The actual construction of sigils seems to me to be the run-of-the-mill part of the work. I have several means toward achieving a desired sigil whether it be on paper (or some other analog medium), in digital form, or via audio, or numerical ensigilization. However, I find that firing off the sigil is what really differs the most from practitioner to practitioner and makes the biggest impact on our magicking.

Yes, we've all used orgasm or exhaustion to fire one off in a hurry because nothing is faster than rubbing one out or doing forty to sixty push-ups in rapid succession, but what about charging within relative stillness? How does one go about using the true inhibitory method of launching the glyph out into the realms of probability? Why am I asking rhetorical questions like a History channel narrator?

It seems that many people take the easy route and employ a failed attempt at pseudo-chemognosis in order to charge their sigils, thinking that all you need to be is blitzed or drunk or otherwise high on some common-as-stone substance to propel your intent out into the realm of probability. This intent could be interpreted as being propelled 1.) way into the depths of the sub-conscious mind (the psychological model), 2.) out into some liminal aether (the energy model), 3.) in a manner which resolves it with a greater organic entity (the spirit model), 4.) in a manner which links it up with morphogenetic fields (the information model), or 5.) in or by some weirding combination of one or two of the aforementioned ideals (the meta-model). Whatever the case, only needing to be drunk or high to propel your intent is a common mistake amongst novice Chaos Magicians who take the notion of chemognosis to mean something along the lines of twinkling your nose to enchant a given property with the help of a spliff or a line of coke or a pill or a few shots of Cuervo.

Personally, I find that making and subsequently charging a sigil is not exactly a linear, step-by-step process. But if I had to break it down for someone, it would begin with the creation of an intent (except in the case of casting sigils for my entire will, in which I allow my unconscious mind to freely form its own intent, not unlike the purpose of The Mass of Choronzon). I then go ahead and begin the mechanical procedure of creating the sigil, which in and of itself is a huge part of the overall enchantment. Finally, it's party time. Foregoing the typical orgasm or exhaustion used by 99% of all mages who are aware of this thing called gnosis, I am going to utilize a relatively quick and simple method of inhibitory gnosis (katalepsis, to use my own terminology) to propel the sigil into the realm of manifestation.

This is just one methodology, but it contains elements that I almost always use in my Work. I begin by chanting three names-turned-mantras, which are given to thought forms I received during the divinatory end of our autumnal equinox seasonal rite of 1996. These mantras are repeated for about five minutes total or until I've reached a state of non-attachment/non-disinterest (a genial form of the neither-neither technique) toward my intent, which should slowly melt away during the chant, all the while visualizing a physical version of the sigil. I visualize it whole, then slowly deconstruct it. I let the lines fall apart, one by one, and then re-join together as if to draw it in my mind. (And, to make myself clear, I do not believe one has to forget a given spell in order for it to work, only so far as obsession leads to repulsion.) This is where the ability to record one's self has its benefits.

I may, at times, record myself chanting the mantras for five minutes and then stop the recording and hit playback on repeat to keep the rhythm of the ritual going with some background noise to assist in the charging process. This is optional. Once the mantra has primed my psyche for further propulsion, I attack my own discursive mind and make every attempt to turn off the veritable cacophony of subtle pink noise that fills our brains every second of every day. Once I've achieved some degree of inward silence, I visualize or stare at our Gate of 9, which is a portal we feed gnosis, OV, and enchantments of all sorts. We use it to aid divination and as a focal point for ritual work. The Gate of 9 is my intermediary between the mundane world and the world of the spirit. It is representative of all nine spheres on Yggdrasil and therefore houses all that exists in this world and the worlds beyond the veil. Odin's eye lies at its center, and this is where I initially focus my attention.

Sending the sigil through the Gate allows it to be transmuted into aethereal material by passing beyond Midgard and taking root in Hel, where it is rotted out and born anew. There, it sprouts branches out into Niflheim and Muspellheim, and buds begin to grow on the limbs reaching out into Svartalfheim and Jotunheim. Eventually, Nidhogg carries my intent up the tree into the realms of Vanaheim and Alfheim, where the great torch sprinkles it with packets of energy or quanta. (Yes, I realize Nidhogg doesn't move from the base of the tree in the mythos proper.) This is where the sigil begins to glow and throb and pulsate with radiant splendor, for it has transcended the dark nodes of the moon and reached the bright black flame of Feral Light. I see it explode with accelerated nuclear decay again and again, and by this point, I am entirely overwhelmed by the visions I am conjuring. I am at one with the sigil, and as it nears Asgard (the superego), my meditative posture is completely relaxed. My body is no longer a hindrance to progress.

As the sigil enters Asgard, I visualize the swastika of A.T.W.A. spinning behind my sigil, empowering it to facilitate my desire on this earth, and I then see a ray of the purest vibrational resonance drowning Midgard with an acid bath of bio-electricity. By this time, my psyche and physique are completely consumed by the events unfolding before my mind's eye, and I am entrenched in the 'story' of my sigil's journey. When I can clearly see my sigil overlayed upon Odin's eye, glowing with shadowy intensity, I am semi-aware that my task is completed, but it takes up to twenty minutes or more for the altered state of consciousness to subside and my totality to return to the ordinary side of the fence between the two worlds.

In conclusion, the Gate of 9 is a potent magickal tool and one that we are constantly discovering new uses for. In fact, the artist is so detail-oriented that just gazing can reveal some of the most awe-inspiring imagery that one hadn't noticed at first glance: eyes within eyes, faces within faces. Stare at the image long enough with a bit of a buzz going, and you'll see what I mean. There is so much I'm omitting from this write up out of the importance of silence. If you're ever down around our way, we will be more than happy to show you the Gate of 9 and reveal its mysteries to you in person, but until then you'll have to deal with this haphazard mess of an articles I've written out here.

written by Eian Orange


The Gate of 9 "Alchemical Yggdrasil" by Barry Lent Devil's Design commissioned and custom designed for Eian and Sarah Orange Winter 2013 one of a kind original air-brushed acrylic onto a piece of 20" birchwood 3/4" thick. The disc was hand cut by the artist.

For appropriate sacrifices and some brief history on the Gate of 9 follow the link to our pseudo-kenobic jar page