Liber KKK

~Liber KKK~
por Peter J. Carroll
KAOS KERAUNOS KYBERNETOS
===========================
(EL RAYO DEL CAOS DIRIGE TODAS LAS COSAS)
Liber KKK es el primer, programa de entrenamiento mgico completo, sistemtico para
algunos siglos. Es un reemplazo definitivo para la magia sagrada de
Abramelin el Mage, que el sistema tiene obsoleto convertida debido a l es
el transcendentalism y el monotheist es dependencia en formas represivas de
el gnosis inhibitorio ahora consideraba inadecuado .
Liber KKK se presenta como serie de tcnicas mgicas generales que
el mago debe convertirse en usar realizable del programa cualesquiera smbolos,
instrumentos y formas de gnosis que abrogan a l. Sera
inadecuado para que un texto mgico del caos prescriba cualquier creencia particular o
los dogmas, excepto esa magia trabajan si se siguen ciertos principios generales. l
sea inadecuado para que cualquier mago del caos slavishly adhiera a
multe el detalle de cualquier sistema. Puede ser aprendido mucho de Liber KKK en el
proceso
de adaptar procedimientos generales al gusto y a los objetivos personales. Liber KKK
puede ser procurado por cualquier adulto. La palabra "mago" se aplica igualmente a
cualquier sexo y el uso de los pronombre personals masculinos en el texto es simplemente a
convencin literaria en ausencia de formas neutrales en ingls.
Liber KKK es una serie de veinticinco operaciones o "conjurations mgicos".
cinco conjurations clsicos de Evocation, Divination, Enchantment, invocacin
y la iluminacin cada uno se realiza en los cinco niveles de la brujera, Shamanic
Magia, magia ritual, magia astral y alta magia. As el trabajo del conjunto
reasume sistemticamente la tradicin entera de la tcnica mgica, el conducir
mago de prcticas simples y de la fabricacin de herramientas hacia
maestra de experimentos ms complejos en el nivel psquico.
Es altamente deseable que el mago tiene cierta forma de templo privado para
sus conjurations. Con todo es esencial que el mago sigue siendo activo en
mundo para el perodo del trabajo en su totalidad . El trabajo no exige cualesquiera
forme de retratamiento del mundo, pero algo de rodear del mundo
utilizan al mago como la tierra que prueba para la magia. As el negocio y
los asuntos sociales del mago son el foco primero para su magia. En
realizando esa magia l define gradualmente su estilo o spirituality. Para ella est
senseless para definir spirituality como con excepcin de la manera una vive. Si la manera
de
La magia es tener un componente espiritual que puede ser descubierto solamente con

el funcionamiento, todas las restricciones y los exhortaciones son intiles.

No hay lmite superior en el tiempo que puede ser alloted para terminar
el trabajo entero sino l no se puede terminar en menos que un solo ao. Cualquier persona
con la poca de terminar la operacin en menos que un ao debe considerar
adoptar ms lejos worldly comisiones como metas arbitrarias en ayuda de
cul, las varias partes del trabajo puede ser utilizado. Los resultados objetivos son la prueba
de la magia, todo el otro es mysticism.
Las muestras de la piedra de los filsofos que transmute no conducen al oro
tambin falle como elixers de la aclaracin en una forma de vida el riesgo e incertidumbre.
el mago puede necesitar considerar si l necesite adoptar la participacin de los proyectos
estos elementos antes de que l comience el trabajo.
Con el fin de esta operacin, los cinco actos mgicos clsicos de Evocation,
Se definen Divination, Enchantment, la invocacin y la iluminacin como
sigue:EVOCATION:
Es el trabajo con las entidades que pueden ser naturales o manufacturadas.
Pueden ser miradas como alcoholes independientes, fragmentos o los magos
subconsciente, o los egregores de varias especies de la vida forme, segn
estructura del gusto y de la creencia . Evocation se realiza en la prctica generalmente para
Enchantment, en sobre el cual las entidades evocadas se hacen para crear efectos
favor del mago. Las entidades evocadas tambin encuentran un cierto uso adentro
Divination, cuando se utilizan para descubrir la informacin para el mago.
DIVINATION:
Incluye todas esas prcticas en las cuales el mago procure ampliar el suyo
opinin por medios mgicos.
ENCHANTMENT:
Incluye todas esas prcticas en las cuales las tentativas del mago de imponer el suyo
en realidad.
INVOCACIN:
Es el attunement deliberado del sentido y del inconsciente con
un cierto nexo arquetipo o significativo del pensamiento. Los conceptos clsicos de
Las formas del dios de Pagan se utilizan a menudo pero otros principios pueden servir .
Invocacin
crea los estados de la inspiracin o de la posesin durante los cuales Enchantment,
Divination, o de vez en cuando Evocation, puede ser realizado.

ILUMINACIN:
Est la modificacin deliberada del uno mismo por magia y puede incluir deletrea de
Molde de Enchantment en se para reparar debilidades o para aumentar fuerzas, y
Divination y la invocacin se realizaron para la inspiracin y la direccin.
As todas las operaciones mgicas se basan en el uso de la voluntad, opinin y
imaginacin, que es decir que ella es todas las especies de Enchantment o
Divination. La imaginacin es la que ocurre cuando y opinin
estimlese.
Los cinco niveles de la actividad mgica, de Socercery, de Shamanic, del ritual, de astrales
y
La alta magia est para los propsitos de esta operacin definida como sigue:BRUJERA:
Es la magia simple que depende de las conexiones ocultas que existen
entre los fenmenos fsicos. La brujera es un arte mecnico que no lo hace
requiera la teora que la conexin exista entre la mente del operador
y la blanco. Cualquier efecto que se presenta de tal conexin puede, sin embargo, estar
mirado como prima agregada. Workng en el nivel de la brujera el mago
crea artefactos, las herramientas y los instrumentos que obran recprocamente mgico con
mundo fsico y que se puede utilizar otra vez en maneras ms sutiles en
otros niveles. El trabajo del nivel de la brujera se debe realizar a fondo, para
como es las prcticas simples se parecen ellas son la fundacin en la cual el ms alto
restos llanos del trabajo.
MAGIA DE SHAMANIC:
Trabajos sobre el nivel del trance, de la visin, de la imaginacin y del sueo. Abre
mago subconsciente negando al censor psquico con vario
tcnicas. El mago hace frente a peligro considerable en este nivel y puede
tenga recurso frecuente a las tcnicas de la brujera o ritual el banishing si l
amenaza obsesionarlo o abrumar.
MAGIA RITUAL:
Combina las capacidades desarrolladas en los niveles de la brujera y de Shamanic.
el mago rene el uso de herramientas del nivel de la brujera con
las energas subconscientes liberadas en el Shamanic nivelan y combinan su
uso en una manera disciplinada y controlada.
MAGIA ASTRAL:
Es realizado por la visualizacin y los estados alterados del sentido o del gnosis,
solamente . El paraphernalia fsico no se utiliza aunque las herramientas y los instrumentos

de los niveles anteriores puede ser utilizado en la forma de imgenes visualizadas. En

primero el mago requerir probablemente el seclusion, silencio, oscuridad y
esfuerzo considerable en la concentracin y trance de tener xito con tal magia,
pero la prctica permitir que sea realizada dondequiera .
ALTA MAGIA:
Es el que ocurre cuando no hay impedimiento al mgico directo
efecto de la voluntad, de ninguna barrera para dirigir clairvoyance y prescience, y de no
seperation entre el mago y cualquier forma de simpata o de sentido
l elige entrar en. Para la mayora de la gente los portals de la alta magia estn abiertos
en algunos momentos mximos en un curso de la vida . Como el mago progresa en el suyo
el entrenamiento del mpetu que l adquiere forzar abre las puertas en
milagroso ms a menudo. No se da ningunos procedimientos aqu para los cinco
conjurations de la alta magia. La alta magia representa el punto donde tcnica
lleva al genio intuitivo y cada uno debe intuit la llave a destraillar
tales energas para se.
Los primeros veinte conjurations ensean la gama completa de trucos artificiales y
tcnicas para lanzar y coger el rayo mgico. En Alta Magia
el caos primordial en el centro de nuestro ser ase o lanza
rayo por s mismo.
Los cinco conjurations en cada nivel se pueden procurar en cualquier orden pero toda
cinco deben ser terminados antes de comenzar por el nivel siguiente. El mago
si preprese para comenzar la operacin entera una fecha que sea propicia o
personalmente significativo. Quizs un cumpleaos o un momento crucial estacional. Un
libro
est preparado en que el mago debe registrar xitos con cada uno de
veinticinco conjurations. Solamente se observan los resultados acertados y el mago
debe modificar su acercamiento a cada conjuration hasta los resultados dignos de
se alcanza la grabacin. Pocos resultados se pueden registrar a otra parte para
referencia . El expediente de la operacin de Liber KKK, sin embargo, debe contener
cuenta de xitos notables con cada uno de los veinticinco conjurations. A
el solo xito con cada uno se debe mirar como mnimo absoluto mientras que
cinco xitos con cada uno de los veinticinco conjurations se pueden mirar como
trabajo cuidadoso.
Con la excepcin posible de actos de la alta magia, todos los conjurations deben estar
planeado detalladamente de antemano. Sobre incorporar el trabajo del principio del templo,
el mago debe saber exacto lo que l se prepone hacer. La mayora de los magos
prefiera poner una rbrica en escrito para un conjuration incluso si utilizan raramente
forma escrita como seal . El mago tendr que a menudo hacer ms que es
planeado como la inspiracin y necesidad muvalo. Con todo l debe nunca fallar a
realice lo que l ha planeado o comience el trabajo con una idea vaga de hacer
una cierta magia.

El Ritual Banishing Gnstico

_________________________
Durante el perodo del funcionamiento de la operacin de Liber KKK
el mago puede necesitar defenderse contra los resultados de sus propios errores
e influencias psquicas hostiles. l puede tambin necesitar llenar su propia salud
y fuerzas psquicas. Para estos propsitos el ritual banishing gnstico puede estar
utilizado. Es un conjuration tcnico compacto y de gran alcance del ritual
Enchantment para todos los propsitos antedichos. Puede ser utilizado libremente durante
trabaje en su totalidad y particularmente como un preludio y conclusin a cada uno de
primeros quince conjurations.
Conjurations uno a cinco - magia llana de la brujera
_________________________________________
La brujera depende de explotar la conexin psquica entre la comprobacin
fenmenos y solamente secundario en establecer conexiones psquicas
entre la mente y los fenmenos fsicos. Cada uno de los conjurations requiere
the use of physical instruments which can be used again on other levels. It is
highly desirable that the magician make these instruments by his own hand.
However the magician may adapt existing objects for use if such objects are
especially significant, or unique artifacts, or designed by the magician, or if
such objects become available to the magician in an unusual or meaningful
manner. It is no accident that sorcery techniques often resemble certain
childhood behaviour patterns. Children often have a natural familiarity with
the simple principles of magic even if they lack the persistance or
encouragement to make them work. The adult magician is seeking to regain
that childlike sense of imagination, fluidity and wishful thinking, and turn it
into something of real power.
Conjuration One - Sorcery Evocation
________________________________
The magician creates with his own hands a physical representation of a
fetish entity by carving, moulding or assembly. Its functions are in general
to attract success, to protect by repelling misfortune and to act as a reservoir
of power for the magician. It is usually shaped to resemble some kind of
actual living being or chimerical being whose form suggests its function. If it
is vaguely humanoid in shape it is known as a Homunculus. It may be made
to contain parts of the magician's body or be annointed with blood or sexual
fluids. The magician treats the fetish as a living being, speaking his will to it,
commanding it to exert its its influence in his favour and carrying it on his
person when on critical errands. Some magicians prefer to make two
fetishes, one to implement will, the other to bring knowledge and
information.
Conjuration Two - Sorcery Divination

_________________________________
The magician prepares a simple model of the universe for use as a
divinatory tool. A set of Rune Sticks or Rune Stones is most excellent for this
purpose. Occidental geomancy sticks provide a somewhat simpler model
whilst the systems of Tarot or I Ching can prove too complex for later work
on the Shamanic levels unless abbreviated in some way. The magician should
perform divination both for general trends and for answer to specific
questions. The element of the divinatory tool should be treated as having a
fairly direct relationship to the parts of reality they represent and the
procedures of sortiledge should be regarded as a mirror of the process by
which reality takes its decisions. Divinatory activity should be pitched at a
frequency and complexity which allows answers to be remembered. It is
preferable to divine for phenomena which are likely to confirm or negate the
divination within a relatively short time period.
Conjuration Three - Sorcery Enchantment
_____________________________________
For the work of the third conjuration the magician may need to prepare or
acquire a variety of instruments, but chief amongst these should be a single
special tool or magical weapon, for enchantment. A small pointed wand or a
knife are especially convenient. This special instrument or weapon can also
be usefully employed to trace the pentagrams in the Gnostic Banishing
Ritual. A fist sized piece of modelling clay or other plastic material may be
the only other instrument required. To perform Sorcery Enchantment the
magician makes physical representations of his will and desire. Where
possible the magical weapon should be used to help make or manipulate
these representations. The magician should perform one or several
conjurations of this type per week. As always he should aim to influence
events before nature has made her mind up, and he should not put too great
a strain on nature by conjuring for highly improbable events.
Conjuration Four - Sorcery Invocation
__________________________________
The aim of the fourth conjuration is to create radical changes in behaviour
by temporarily altering the environment. There is no limit to the variation of
experience the magician may wish to arrange for himself. He might, for
example, after some careful background research, depart in disguise to some
strange place and play out a completely new social role. Alternatively, he
may wish to equip his temple and himself in such a way that he experiences
being an ancient Egyptian god for a time. In Sorcery Evocation the magician
tests to the limit his ability to create arbitrary change by modifying his
environment and his behaviour.
Conjuration Five - Sorcery Illumination

___________________________________
In works of Illumination the magician aims for self improvement in some
precisely defined and specific way. Grandiose plans for spiritual
enlightenment should be abandoned in favour of identifying and overcoming
the more obvious weaknesses and increasing existing strengths. For the work
of Illumination the magician makes or acquires some object to represent his
quest as a whole. This objects is technically known as a "lamp" although it
may take the form of anything from a ring to a mandala. The "lamp" is used
as a basis over which to proclaim various oaths and resolutions. Such oaths
and resolutions may also be marked onto the design of the lamp. The
magician may need to perform various supplementary acts of invocation,
enchantment, divination and even evocation to make progress with the work
of illumination. It is not unusual for the magician to destroy and rebuild the
lamp during the work of illumination.
Conjurations Six to Ten - Shamanic Level Magic
__________________________________________
Shamanic Magic depends on the use of altered states of consciousness in
which active visualistation and passive vision seeking can most easily occur.
The altered states which are easiest and safest to access are those of halfsleep, dream and light trances brought on by quiet meditation. However, any
method of Gnosis can be used according to taste, but in initial exercises it is
wise to avoid certain dangerous and ecstatic practices which can lead to a
loss of control. In general it is preferable to try and deepen the trance by
concentrating on visualisation and vision than to deepen it by extreme
Gnosis beforehand. In Shamanic Magic the magician is seeking to discover
and establish connections between his mental imagery and phenomena in
the world. Visions frequently occur in symbolic language, thus for example,
diseases take on the appearance of insects or loathsome animals, and fears or
desires may appear as spirits. The magician or shaman should deal with such
things as the images in which they present themselves, banishing or
invoking such forms by force of visualisation and interpreting their physical
meaning where necessary. Shamanic magic tends to become a very
idiosyncratic and free form exercise in which the magician also explores his
symbol synthesising faculties.
Conjuration Six - Shamanic Evocation
_________________________________
In this work the magician strives to establish a vision of an entity which he
projects to do his bidding. It is often useful to work with the visualised
forms of the entities used for the sorcery evocation although other forms can
be chosen. In general, entities are used to encourage desired events to
materialise, or to seek out information, in situations which are too complex
for simple spells or divinations to be formulated. Entities act as semi-

intelligent spells with a limited degree of independent action. The magician

seeks to build an increasing rapport with the entities he has conjured by
imagination until they begin to have real effect upon the world. Some of the
best work with entities can often best be achieved by interacting with them
in dreams.
Conjuration Seven - Shamanic Divination
____________________________________
In Shamanic Magic divination consists of a vision quest for answers to
particular questions. However, the traditional term "vision quest" should be
understood to include a quest for an answer sensed in any way, be it
hallucinatory voices, tactile sensation or whatever. In general the magician
concentrates on the question he wishes to put as he enters his state of
dream, half-sleep or trance and then allows a flow of images, voices or other
sensations to arise within himself. A completely free form vision can be
attempted and later interpreted, or the magician may attempt to structure
his experience by looking for special symbols, particularly those chosen for
the sorcery divination work.
Conjuration Eight - Shamanic Enchantment
______________________________________
In Shamanic Enchantment the magician seeks to impress his will upon the
world by a direct or symbolic visualization of his desire. Thus whilst in his
chosen form of trance he summons up an image of the target phenomena
and visualises his desire coming to pass. The magician will often find it
helpful to visualise himself in the spirit vision travelling to the person or
situation he wishes to influence. He then visualises an imaginative enactment
during which the situation or the person's behaviour changes to fit his
desire. It is not unusual for the visualisation to become somewhat symbolic
or distorted or coloured by the magician's imagination. In general these
distractions should be banished by greater concentration on the desired
visualisation. However, if they are persistent they may reveal some
knowledge about the target or the magician's relationship to it which he can
use to improve his enchantment. For example, if a target person repeatedly
appears to have some kind of aura or animal form in a vision it is often best
to work ones visualisation directly upon this. Similarly, if a target situation
seems to have some kind of characteristic vibration or "feel" about it in the
spirit vision then the magician will often succeed by spirit vision then the
magician will often succeed by working his magic upon a visualisation of this
rather than of the actual substance of the situation.
Conjuration Nine - Shamanic Invocation
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In Shamanic Invocation the magician draws knowledge and power from

Atavisms, normally animal atavisms. A number of ingenious explanations

exist as to why such experiences are possible. The human genetic code
contains a huge amount of apparently unused information. Much of this must
relate to our evolutionary history. The human brain has developed by a
process of accretion rather than by complete modification. The older parts of
our brain contain circuits and programs identical with those in other animals.
Some magicians consider that the psychic part of humans is built up from
the psychic debris of many past beings including animals, in much the same
way as the physical body is. Others consider that the collective psyches of
the various animal species is available to them telepathically.
To perform Shamanic Invocation the magician strives from some kind of
possession by an animal atavism. The selection of a particular animal form is
a very person matter. It may be that the magician has had some affinity
with a particular animal since childhood, or has some characteristic, physical
or mental, which suggests an animal, or it may be that an intuition builds up
or that a sudden visionary revelation occurs. To develop the invocation the
magician should try to visualise himself in animal form whilst in trance and
even to project himself in astral travel as an animal. It is often useful to
physically act out the behaviour of the animal in a suitable environment.
With practice, varying degrees of split consciousness can be achieved in
which it is possible for the magician to interrogate his atavism upon matters
it understands and to ask it to provide him with such of its powers as his
physical or astral bodies can support.
Conjuration Ten - Shamanic Illumination
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The so called medicine journey of Shamanic Illumination is a quest for selfknowledge, self renewal or self improvement. It can take many forms.
Traditionally it often takes the form of a death and rebirth experience in
which the magician visualises his own death and dismemberment of his
body followed by a rebuilding of his body and "spirit" and a rebirth.
Sometimes this process is accompanied by physical privations such as
sleeplessness, fasting and pain to deepen trance. Another method is to
conduct a series of visionary journeys summoning up the so called "spirits"
of natural phenomena, animals, plants and stones and asking them to yield
knowledge. The simplest method of all is to retire for some days to a wild
and secluded place far from the habitations of men and there to conduct a
complete review of one's life up to that point, and also of one's future
expectations.
Conjuration Fifteen - Ritual Illumination
____________________________________
In Ritual Illumination the magician applies various ritual acts of divination,
enchantment, evocation and invocation to himself for self improvement. As

with all acts of illumination the changes attempted should be specific rather
than vague and general. The magician may find it useful to prepare a more
elaborate "lamp" perhaps in the form of a mandala representing his self or
soul for this conjuration. One effect of ritual illumination is often to force the
magician to choose between Atman and Anatta. If he works within the
paradigm of Anatta, the hypothesis of no-soul, then illumination is a matter
of the addition or the deletion of certain patterns of thought and behaviour.
If the magician works within the paradigm of Atman, the doctrine of
personal soul, or Holy Guardian Angel, then he faces a more complex,
dangerous and confusing situation. If a personal soul is presumed to exist
but without a true will then the atman magician can proceed as if he were an
Anattaist. If a true will is presumed to exist then the conjuration must be
directed towards its discovery and implementation. The author has avoided
treading too far along this path but has observed the process go
spectacularly wrong in numerous cases. Those who wish to attempt it are
counselled to avoid accepting as true will, anything which conflicts radically
with ordinary commonsense or "lower will", as it is disparity called in this
paradigm.
Conjurations Sixteen to Twenty - Astral Magic
_________________________________________
Astral Magic is Ritual Magic performed entirely on the plane of visualisation
and imagination. Unlike Shamanic Magic where a fairly free form use of
images and visions is explored, this magic requires the precise and accurate
visualisation of an internal landscape. In this landscape the magician carries
out processes designed to bring him knowledge of the ordinary world or to
change the world or himself. Astral Magic has to be approached with at least
as much preparation and effort as it put into ritual magic or else it can tend
to become a brief series of excursions around the imagination to little
magical effect. Properly performed, it can be a source of extraordinary
power and it has the advantage of requiring no physical equipment. Astral
Magic is usually begun in some quiet secluded place whilst the magician is
comfortably seated or couched with closed eyes. There may be few outward
signs that anything is happening apart from perhaps a variation in breathing
rates or posture or facial expressions as the magician enters gnosis.
To prepare for Astral Magic a temple or series of temples needs to be
erected on the plane of visualised imagination. Such temples can take any
convenient form although some magicians prefer to work with an exact
simulacrum of their physical temple. The astral temple is visualised in fine
detail and should contain all the equipment required for ritual or at least
cupboards where any required instruments can be found. Any objects
visualised into the temple shold always remain there for subsequent
inspection unless specifically dissolved or removed. The most important
object in the temple is the magician's image of himself working in it. At first
it may seem that he is merely manipulating a puppet of himself in the

temple but with persistence this should give way to a feeling of actually
being there.
Before beginning Astral Magic proper, the required temple and instruments
together with an image of the magician moving about in it should be built up
by a repeated series of visualisations until all the details are perfect. Only
when this is complete should the magician begin to use the temple. Each
conjuration that is performed should be planned in advance with the same
attention to detail as in Ritual Magic. The various acts of astral evocation,
divination, enchantment, invocation and illumination take on a similar
general form to the acts of Ritual Magic which the magician adapts for astral
work.
Conjurations Twenty One to Twenty Five - High Magic
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All the techniques of magic are really just so many ways of tricking some
indefinable parts of ourselves into performing magic. The universe is
basically a magical structure and we are all capable of magic. The really
useful theories of magic are those which explain why magic tends to work so
erratically and why we have such enormous inhibitions about believing in it,
making it work, and recognising that it has worked. It is as if the universe
has cast a spell upon us to convince us we are not magicians. However, this
spell is rather a playful cosmic joke. The universe challenges us to shatter
the illusion by leaving a few cracks in it.
No details are presented for the five conjurations of High Magic, nor can they
be given, the reader is referred back to the remarks made on them in the
introduction. The magician must rely on the momentum of his work in
sorcery, shamanism, ritual and astral magics to carry him into the domain of
high magic where he evolves his own tricks and empty handed techniques
for spontaneously liberating the chaotic creativity within.
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