women computer operators experiencing miscarriages, stillbirths, and birth defects.
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Becker devotes considerable space to a discussion of EMR potential as mind-control weaponry, noting that the
CIA’s MKULTRA program, in addition to psychedelic drug & hypnosis research, also included funds for “techniques
of activation of the human organism by remote electronic means”.
Readers of my Church of Satan history will be familiar with the Yezidi legend of the “seven towers of Satan
extending across Asia, atop each of which sits a Priest of Satan, beaming energy to control the forces of the world for
evil”. [Cf. William Seabrook, Adventures in Arabia.]
Truth is again stranger than fiction: In 1976 a new radio signal began to be heard around the world between
3.26 & 17.54 mhz, soon nicknamed the “woodpecker” because of its modulated pulse signal. It was soon traced to a
giant transmitter in the Ukraine. Relates Becker:
The signal is so strong it drowns out anything else on its wavelength. When it first appeared, the UN
International Telecommunications Union protested because it interfered with several communications
channels, including the emergency frequencies for aircraft on transoceanic flights. Now the woodpecker
leaves ’holes’; it skips the crucial frequencies as it moves up and down the spectrum. The signal is
maintained at enormous expense from a current total of seven stations, the seven most powerful radio
transmitters in the world.
Within a year after the woodpecker began tapping, people in various locations in the U.S. & Canada began
complaining of pain and pressure in the head, anxiety, insomnia, lack of coordination, numbness, & fatigue. Some
engineers who studied this phenomenon in Oregon, where the communities of Eugene & Corvallis seemed to be
particularly subject to the symptoms, traced a 4.75 mhz signal to the woodpecker and suggested that it might in fact
be an experimental model of Nikola Tesla’s magnifying transmitter. [Cf. Runes #I-2: “Tesla”.]
“The available evidence,” comments Becker, “suggests that the Russian woodpecker is a multipurpose radiation
that combines a submarine link with an experimental attack on the American people. It may be intended to increase
cancer rates, interfere with decision-making ability, and/or sow confusion and irritation. It may be succeeding.”
The Body Electric, then, is a mixed bag of good and bad news. It may open the door to the Gift of Set - and it
may just as well confirm the Book of Coming Forth by Night’s warning of annihilation - not by something as
spectacular as bombs or bullets, but, as Dr. Becker puts it:
It may be hard to convince ourselves that something we can’t see, hear, touch, taste, or smell can still
hurt us so dreadfully. Yet the fact must be faced, just as we’ve learned a healthy fear of nuclear radiation.
Certain scientists, some perhaps acting in a program of deliberate disinformation, keep telling the public
that we still don’t know whether electropollution is a threat to human health. That’s simply not true.
______________________
Associated Press Update 1990
Clam Lake, Wisconsin (AP): A 15-mile antenna strung out like a giant cross in the Chequamegon National
Forest quietly sends radio messages to missile-equipped submarines patrolling deep waters around the world.
The Navy began using the $400 million ELF system last fall, replacing smaller transmitters that had been
sending messages to missile-equipped submarines since the late 1960s.
The earlier project went through despite years of protests based on fears that the low-frequency radio waves
would fry fish in nearby streams and produce two-headed squirrels.
“In the last two years we have had only two protests of any significance. Those folks were strictly anti-military,”
said Lt. John Smythe, project commander. “I think the biological, ecological and safety issues have all been
addressed.”
At one point, demonstrations occurred almost weekly at the fenced-in transmitter site in northwestern
Wisconsin. Nuclear-weapons opponents argued the system would make the forest a target for Soviet missiles, and
environmentalists called for more studies.
ELF, or extremely low frequency, is the only system of its kind that sends radio waves that penetrate water The
system permits submarines to prowl undetected by radar while receiving messages several hundred feet under
water.
The antenna - two strands of cable strung on wooden poles - and a transmitter are tucked into the forest atop
20,000 feet of buried rock near Clam Lake, a quiet tourist wayside. Bears frequently climb on the poles, and
snowmobiles glide through a corridor carved in the trees.
Jerry Holter and his wife Tish, both 60, live about a mile from the antenna and have watched the project unfold
since 1969. “They brought in peace activists by the busloads,” Holter recalled. “You won’t find anybody in the area
that ever thought the project would do all the things opponents claimed, including make you sterile if you walked
under the lines.”
Mrs. Holter served as a “human guinea pig” for researchers monitoring the medical effects of the system on
nearby residents. “We are both so darn healthy, it’s funny,” she said.
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But Mark Peterson, executive director of the Sigurd Olson Environmental Institute of Northland College in
Ashland, said the project still has its skeptics. They point to studies that indicate milk production of cows that graze
near high voltage electrical lines drops off, he said.
The system, and a companion one near K.l. Sawyer Air Force Base south of Marquette, Michigan - use a total of
$60,000 worth of electricity each month and employ about 75 people, mostly civilians, Smythe said.
ELF is scaled down considerably from the original plan, which included a grid of 6,200 miles of buried cable
and 100 transmitters built to survive a nuclear war.
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A63: Proxemic Magic
- by Michael A. Aquino VI°, GM.Tr.
Runes #III-4, July 1985
Order of the Trapezoid
“Magick,” Aleister Crowley once wrote, “may be defined as the name given to science by the vulgar.” By this he
meant that the knowledge and application of obscure scientific principles may very well seem “magical” to an
ignorant observer, whether the practitioner be a stage magician or a NASA astrophysicist.
A corollary to this observation is that so-called “magic” [or “Magick”] based upon nothing more than mere
superstition or ooga-booga mysticism is objectively useless, meaning that it won’t accomplish a damned thing if the
person or persons in question are unaware of it. The ooga-booga stuff will work only if the person at whom it is
directed (a) knows about the Working and (b) is superstitious enough to believe in it. [Note: The magician should
never make the mistake of assuming that another person is not sufficiently superstitious just because that individual
protests to that effect. The less people know about the Black Arts, the more they are vulnerable to superstitious
reactions to them.]
I cannot overemphasize how important it is that the Black Magician not fool himself or herself in this regard.
You are differentiated from White Magicians, among other things, precisely because you aren’t scared silly by your
own tools, and because you don’t deceive yourself as much as - or worse than - the other person. The Black
Magic
ian must always know what is happening and be in control of it. If he doesn’t know quite what is happening
when a given technique is being used, then he approaches that Working in much the same manner as a scientist
making a laboratory experiment: He constructs and tests various theories and takes note of such results as may
manifest themselves.
To me the foregoing has never seemed like a very difficult principle to grasp. Yet for the better part of twenty
years I have been amazed by the number of people - Magicians, and would-be Black Magicians - who have scared
themselves [and made themselves look ridiculous in the bargain] by taking some rag-tag superstition from some old
grimoire and turning it into a personal idol before which to abase oneself. I like to think that one of the key virtues
of the Temple of Set - and the saving grace of the old Church of Satan before it - has been the rejection of self-deceit,
which Anton LaVey so accurately labeled “the greatest of all ‘sins’”.
The focus of this article, like so many Runes articles before it, is upon another aspect of science which is
sufficiently obscure to warrant its being venerated as “magic” by the vulgar. Hence it is suitable for practical use by
the Black Magician. Because it is based upon objective principles, rather than ooga-booga tosh, moreover, it can be
applied successfully whether or not the object of the Working knows about it or believes in it.
In 1966 an anthropologist by the name of Edward T. Hall wrote a very interesting book entitled The Hidden
Dimension (Garden City: Doubleday & Co.), whose central theme, he said, was “social and personal space and man’s
perception of it. ‘Proxemics’ is the term I have coined for the interrelated observations and theories of man’s use of
space as a specialized elaboration of culture.” Hall elaborates on his thesis thus:
It has long been believed that experience is what all men share, that it is always possible somehow to bypass
language and culture and refer back to experience in order to reach another human being. This implicit - and often
explicit - belief concerning man’s relation to experience was based on the assumptions that, when two human beings
are subject to the same ‘experience’, virtually the same data are being fed to the two central nervous systems and
that the two brains record similarly.
Proxemic research casts serious doubt on the validity of this assumption, particularly when the cultures are
different. People from different cultures not only speak different languages but, what is possibly more important,
inhabit different sensory worlds. Selective screening of sensory data admits some things while filtering out others,
so that experience as it is perceived through one set of culturally patterned sensory screens is quite different from
experience perceived through another. The architectural and urban environments that people create are expressions
of this filtering-screening process. In fact, from these man-altered environments, it is possible to learn how different
people use their senses. Experience cannot therefore be counted on as a stable point of reference, because it occurs
in a setting that has been molded by man.
Hall begins his study with a discussion of the mechanics of distance regulation, first between animals, then
between humans. “Flight distance” (FD) is the point at which an animal will flee when approached by a potential
enemy: for example 500 yards for an antelope and 6 feet for a lizard. If you manage to approach too closely within
FD, you will encounter “critical distance” (CD), wherein the animal feels so threatened that it will begin to stalk or
fight. The famous Swiss animal psychologist H. Hediger offers one illustration:
A lion in a zoo will flee from an approaching man until it meets an insurmountable barrier. If the man
continues the approach, he soon penetrates the lion’s CD, at which point the cornered lion reverses
direction and begins to stalk the man. In the classical animal act in the circus, the lion’s stalking is so
deliberate that he will surmount an intervening obstacle such as a stool in order to get at the man. To get the
lion to remain on the stool, the lion-tamer quickly steps beyond the CD. At this point the lion stops
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pursuing. The trainer’s elaborate “protective” devices - the chair, the whip, or the gun - are so much
window-dressing.
Human beings are also subject to FD/CD stimuli, as well as to an intermediate condition which Hediger terms
“personal and social distance” (PSD). We have a variety of physical sensors by which we make such subconscious
decisions: sight, hearing, and smell at a distance; and touch up close. In some cultures, people are accustomed to
being within the smell-radius of others, for example - and in fact judge moods, class, and relationships in part on
olfactory impressions. In other cultures, such as that of the U.S., we are repelled by the scent of anyone except those
with whom we are personally intimate. This simple fact may identify an invisible yet powerful barrier against
American rapport with various mid-eastern cultures.
Japanese culture emphasizes the “stretching of visual space”, as in gardens (wherein steps along paths or
stepping-stones must be individually picked with care) or in rooms (where furniture tends to be arranged in the
middle rather than near or against the walls). To the Westerner, a Japanese environment often appears “open” and
“spacious” even if the physical dimensions involved are no greater than those in a Western home or office.
In public spaces and conveyances, on the other hand, orientals and Arabs have a much higher tolerance for
crowding than do Westerners. Observe the behavior of mixed ethnic groups on a crowded subway or bus and see for
yourself. [Hall theorizes that the increased attention to personal living-area spaciousness by the Japanese may be in
the nature of a partial compensation for this.]
The human skin’s ability both to transmit and to sense emotional states is greater than most people know.
Anger or embarrassment triggers blushing, for example, but it also increases the blood supply to various parts of the
body, causing [among other things] a subtle swelling of the forehead and temples, and a resultant rise in skin
temperature in those areas. Observers can detect such changes by skin-based thermal detectors, by more intense
olfactory sensation (smell), and by visual impact. Some women interviewed by Hall commented that changes in the
bodily temperature and odor of dancing partners, for example, were reliable advance-signs of lust, anger, etc. - long
before the male in question would speak or act accordingly. Crowley, in addition to his skill in recognition of visual
signals [“Give me the sign of the Open Eye”], was similarly a student of space- and smell-based behavior. His subtle
use of these techniques astonished many an onlooker, who might well credit the results to the supernatural. [Cf.
William Seabrook’s account of Crowley’s “magical” trip-up of a pedestrian. The Beast merely intruded on his
victim’s auditory space.]
Heat and space-perception are related. People in a cool, crowded room will not feel as cramped as the same
number of people in a similar-sized room which happens to be hot. Whether or not you see or hear other persons,
your heat-sensors will react to them if you are close enough. [To sample your own heat-radiation sensitivity, place
the back of your hand close to your lips. Both generate a high level of heat. Then move yo
ur hand up and down in
front of your face. Also try near-skin experiments with another person, particularly “out of eyesight”. You may be
surprised at the results.]
Photographs and paintings of individuals create an immediate attitude-impression in a viewer depending upon
whether they place him or her in FC/FD of the subject. [Try looking at people in “close” or “distant” pictures and see
how you react. Also try viewing both types of pictures from near and distant positions.] Maurice Grosser, in The
Painter’s Eye (NY: Rinehart & Co.) states:
Four to eight feet is the portrait distance: Here the painter is near enough so that his eyes have no
trouble in understanding the sitter’s solid forms, yet he is far enough away so that the foreshortening of the
forms presents him no real problems. Here, at the normal distance of social intimacy and easy conversation,
the soul of the sitter begins to appear. Nearer than three feet, within touching distance, the soul is far too
much in evidence for any sort of disinterested observation. Three feet is the sculptor’s working distance, not
the painter’s. The sculptor must stand near enough to his model to be able to judge forms by sense of touch.
The next time you visit a museum which contains statuary from several historical cultures, try to sense (a) from
what distance the sculptor wrought a particular statue, and (b) from what distance he intended that it be viewed -
and why. Note that Egyptian statuary tends to focus on the ka or psyche, Greek statuary on the physical ideal of
beauty, and Roman on the physical reality of individuals. Once you perceive these interrelated “filters”, you will
begin to understand why these images affect you in the way they do - and which you couldn’t previously explain on a
conscious level.
Perspective in painting was re-discovered at the time of the Renaissance, enabling the viewer to focus on various
parts of a painting and see them proportionately represented. A peculiarity of Rembrandt’s style is that he painted
“stationary visual fields”, such that by focusing on a portrait’s central feature you will see the entire portrait in the
same clarity/lack of clarity as you would standing before the individual in question and observing him/her with your
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