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Kohen Qabbalah






 A cosmopolitan religion has been conceived by the people? When? How? By whom? This essay is an avant-reading copy, written in a troubadouric language, which dares to investigate some element not usually seen together into a social sciences’ approach. The story of the Patriarchs before the deluge, the inner literature of a sacerdotal line before Israel, the myth of the Ten Lost Tribes after the division between Yehudah and Israel, the Oriental side of the Diaspora and the Exilarchate, the shadows of the Qabbalah in the intertwinned line of Arabic Suphi mystical doctrine, its blossom into the Omayyade Spain and the influence on music and poetry: all this matters with the development of European Renaissance and early Enlightenment’s phylosophy. This essay doesn’t limit its investigation field to past epochs but goes under the shadows of the Eastern Diaspora to recognize the meaning of the so called false-Messiahs as the main continuity line with old tradition. Modernity and political analogies are useful to understand the arts and their social reflex, and also the obscurantist line which generated the occultation of each spiritual attempt able to dare spreading liberty and awareness among the people.

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un ordre international

Cette note s’adresse à ceux qui sentent qu’ils ont besoin pour contribuer à une expansion des Lumières à l’évolution du monde contemporain.

La capacité à se connecter à Internet et la croissance de l’opportunité de voyager permettent maintenant de penser qu’il est effectivement possible de construire des sociétés initiatiques internationale.

Un objectif similaire a été de la pensée qui a caractérisé l’âge de la modernité (réduit à tort à la romance, mais qui attend toujours une compréhension de la véritable signification de la composante spirituelle).

Par rapport à l’ère du modernisme (le début du XXe siècle, avec l’Art Nouveau et la Belle Epoque), aujourd’hui les conditions vous permettant d’étendre ce niveau de partage non seulement l’aristocratie et bourgeoisie, mais un nombre croissant de personnes de la classe moyenne. En autres mots, il y a la condition pour la construction d’une nouvelle prise de conscience.

L’Europe doit être capable de communiquer en interne et avec ces nouveaux acteurs. Les Lumières ont à entendre cette nouvelle vague de demande de droits, l’expansion de la conscience etl’émancipation. Sentant la nécessité de trouver une coordination spirituelle particulière,construire avec les outils de symbolisme et de l’initiation.

Si nous voulons, cette prise de conscience a ses racines dans les mouvements de protestation des 68, avec les hippies et les beatniks, se libérer de ces derniers, cependant, pour une nouvelle attitude à l’égard de l’ecstasy, d’être obtenue non pas grâce à l’utilisation des externes supplémentaires (tels que la drogue), mais grâce à des techniques naturelles comme le yoga et la méditation: des conditions typiques de l’initiation de pratiques actives.

Déjà ouvert un dialogue avec les membres de l’Angleterre, l’Italie et l’Espagne, nous essayons de renforcer ce processus. Nous croyons que la véritable initiation ne passe pas par des organisations qui exigent le paiement de lourdes taxes pour l’adhésion.

Par ailleurs, un ordre international implique la nécessité de voyager, au contraire, doit être appuyée par une adaptation mutuelle entre frères et sœurs.

Nous serons heureux de discuter avec quelqu’un qui a des objectifs semblables aux nôtres et est engagé dans des voies de recherche comme ceux-ci.

Contacter pour ça.



BLEU ORFEU – live session at Locanda Blues, March 20, 6018, Spring Equinox. Davide C. Crimi, songs, voice, electroacoustic guitar; Jesus I. Seck, electric guitar. Songs in program: Jinney the Witch, Revisited Sympathy, Fatal Flower, Giordano Bruno.
Jinney the Witch is the story of the true legend of Camden Town, London. In XVII century, this woman, Jinney Bingham, had four husbands and lived in magic. It is not by chance that two centuries later, philosopher Carlyle met first time Giuseppe Mazzini in the house that used to be Jinney’s home, as a powerful place of magic. In the song, Jinney is an image of women’s emancipation, her life being a symbol of this. The second song is too famous to need a presentation. Here, the song is revisited in a low effect folk-blues version, notwithstanding remaining full of its hypnotic power and even more political, revealing something more about the deeply roots of the text. Fatal Flower, third song, is something like a theological treatise in less than five minutes. “Everything they told us is wrong” it says about the ordinary teachings people use to receive in their youth, which become during longlife the inner architecture of our consciousness, that is not without mistakes. “The valley of the deep” and the “Fruit of knowledge” are images inside the song. Final song, Giordano Bruno is quite an anthem celebrating the famous philosopher burned at the stake in XVII century because of the condemn of the church, in reason to defend its ancient mistakes and lies. The name of the whole program, BLEU ORFEU is an allusion to BLUES and its inner origins, emerging from the dangerous places of prohibitionism in America at the beginning of the XX century, and the carnival in the St. Louis streets with the myth of Orfeo (“Orfeu” being a reference to the Portuguese spell as in the ’59 movie), through by the black music came out from the shadows. When white men became aware of the blues, their music became more interesting and deep. When black men started to play western instruments, like guitar and piano, they started to teach another way to play. When a white man plays with a black one, this simple act is a political statement of brotherhood.

All songs by Davide C. Crimi, except “Revisited Sympathy”, being a folk adaptation of the famous Jagger-Richards’ song. Jesus Issa Seck plays electric guitar in all songs. Special thanks to: Giuseppina Basi (photo), Carmela Belfiore (camera), Emanuela Petroni (organization).

Loosing Logos

The way this movie ha been realized concerns the way to express something like loosing the logos. With this aim, we entered a deeper study concerning what we have been doing combining some aspects emerging from the Blue Qabbalah project with reference to the commentary to the beginning chapters of the Book of Genesis, interpreted not exclusively with usual religious material but also with the addiction of others traditional sources, such as kabbalistic Yetzirah, Zohar and Raziel’s books, moreover with reference to the Egyptian tradition and to the Sumerian one. The kind of work that was the investigation made by John Dee. The adjective “Enochian” is here reported in its doubtful meaning. As it is (quite) well known, Enoch is one of the Patriarchs before the Deluge, about whom it is said to have not die and to be bring on heaven. Enoch is very important in the Qaballah, being considered the author of some eclipsed books, not included in the Holy Torah but reserved to the superior knowledge of initiates. The Books of Enoch really do exist, and now they are translated in Western languages since the discoveries of the Qumran, Nag-Hammadi scrolls. The technical issue has been addressed to the Orphism, considering it both in its classic origins but also in the modern meaning conceived by the Delaunays, being abstractism in movement, a continuous change in light obtained through an oscilloscope. Following Stockhausen’s lesson, the sound was increased in complexity, putting into contact the concept of “exiting the logos” as a very compact source expressed by a compress version of the song, reduced to the 1,26% of natural extension. Then, after a silence, another and more long version, then another and another one, until the natural one. The fluxus of colours obtained through an oscilloscope, of course, is not the only one which can be obtained: but the whole of possibilities you may consider, they are analogues, because the oscilloscope reacts – even in different ways – to the nature of the sounds impulse. Then, the Logos generates images, and the whole of the possibilities. This is an interesting one.


As we are talking about an European movement, language is a very important point. We need to imagine – as we in fact does when working in presence – a place where people of different language meets to work together. Of course, our work language is English; but we want to underline that there is consciousness and awareness that our English is a language of transformation, we may say a form of International English or – if you prefer – Internet English, the mix we call Intglish, as explained in the Europa Magica magazine, This lighter approach to communication is the spirit of time and, while we respect the great tradition in literature and history of the English language, simultaneously we call for a frank language which is the result given by the magickal equation of the mix of words taken from Enochian, Hebrew, Sanskrit, Latin, French, German, Spanish, Chinese, African and Maya which are the instruments of Magick. Therefore, dear Reader, forgive us some mistakes in grammar and syntax, thinking that we are building a new koiné.

The Mystery of Orion

enuma elish.jpgThe myth or Orion is the most hidden. As we demonstrate with a retrospective on the Enuma Elish, in this constellation we can find the real meaning of the backside of the formula “God made man in our image, in our likeness” (Genesis 1:26) which, in an anthropological meaning can be reversed into “Man created God in his image, in his likeness”.
The constellation of Orion holds this secret, because Orion is the image of man into the sky.
Primitive man, rising their glance to the sky, they identified themselves with Orione: this the reason why Orion is the god-image of man in the sky. Moreover, differently from the Zodiac’s constellations, that disappear early above the line of the horizon, Orion is visible quite the whole year, enforcing the perception of a divine nature. Notwithstanding, Orion disappears during the summer, when Scorpio rises and seems to dominate the sky: from this evidence the ancient developed the myth of the fall on the earth of this god, bearer of light and knowledge.
Inside the book, several astonishing notes can be found. Here, we may anticipate some consideration on the ethymology of the name.
In Sumer Orion was know as Kur. In the Ancient Mysteries, Kurbantes were the Phrygian dancers who worshipped the goddess Cybele.ù
Akkadian name was El, Ellum or Elam.
The Hittite called Orion Ur-uarau-wannas, meaning free or noble.
The Persian name Ahura mean Sun or Freedom.
Ahura Mazda is the Vedic Varuna.
Uru-w-an, Uru-anna, Varuna, Ahura, Orion is the Light of Heaven.
He is also the god who killed the bull.
His name is also Mithra and his wife is called Bellil-ili or Ianna in Sumeria, Arinna in Greece.
Orion, after his fall, became also the God of the underworld, the enchained Prometheus or the Plutonian Hades, the Lord of Death.
In Egypt Orion was called Ausiris. Orion is followed by the constellation of the Dog. In Egypt the Dog is Anubys.
The whole of the ancient tradition is connected with Orion. The cosmogonies and the anthropogonies of these early ages of human consciousness are completely melted in the myth of Orion from which depends, ultimately, the originary conception of God as it developed not just in mythologies but also in religions.
Why Orion disappeared from our consciousness? The answer in inside the word religion.
When the ancient initiatic tradition eclipsed, the new consciousness was obnubilated by the prohibition of what they called “astrolatry”. Books about the knowledge of the stars were burned under accuse of heresy and blasphemy. Since then, the idea of a national god – this terrible mistake! – had no more rival.
Now, it is time to recognize the ancient wisdom.
So Orion come back to his role of torch bearer, for the sake of mankind.


Tradizione e Rivelazione

La Tradizione, metafisicamente, non può esser che una. Ma quando avviene il passaggio dal mondo iperuranio a quello attuale, anche questa perfetta Entità subisce la rifrazione nelle coppie degli opposti. Così, nella storia delle dottrine politiche e religiose, incontriamo decine, centinaia, migliaia di idee differenti che passano sotto il termine Tradizione. Come tutto ciò che è molteplice, si può tentare la sintesi attraverso la riconduzione al sistema binario. Così potremo dire che ci sono, sostanzialmente, due grandi concezioni, politicamente molto distinte.

La prima sostiene che la Tradizione è data e immutabile, proviene da fonti divine, non può essere oggetto di indagine umana e va accolta per fede.

La seconda ritiene che la Tradizione non è scevra da errori del passato, e che il suo compito è procedere nella rivelazione progressiva.

Resta evidente che tesi e antitesi si riunificano nel fondamento metafisico, per cui la dottrina dell’Unità non può che essere Unica. Chi conosce i rudimenti della Dottrina Iniziatica dovrebbe sapere che Jakin e Boaz, le colonne che rappresentano le antitesi mondane, non sono che l’ingresso nel Tempio, dove la regola è andare oltre per vedere l’Unità delle cose. Ma questo vale nella pienezza del Logos, le-olam avah, nel mondo a venire, e non in quello attuale. Qui la differenza è importante e marca concezioni profondamente diverse del lavoro iniziatico e, soprattutto, della vita.

Proponiamo un sondaggio per vedere quali sono le preferenze e le proporzioni statistiche in rapporto alle due tesi. Grazie per il contributo.

Dawn of the Morning Star

Coming forth from the old utopia that machines would have delivered men and women from hard work, the optimism of the post-war dream became a powerful illusion for a whole generation. Allen Ginsberg’s Howl is a rare creation of poetry where this illusion is seen in its full reality of dangerous mistake. The main part preferred to follow the Western way of the illusion of the access to a mystical dimension simply buing a prohibite substance, as it was promised by books such as The The Politics of Ecstasy by Timothy Leary.

The kind of awareness given in poetry by Ginsberg has been sociologically explained in the clearest form by Aldous Huxley, revisiting his book Brave New World, where he indicates the way the modern system of personal control and influence generated by the establishment  contemplates voluntary submission of the the individuals. The difference with old-fashioned authoritarian powers is given by this attitude, which  in the Huxley’s vision, it consists not in the use of the force as the nationalist dictatorships but in a new fashioned system consisting in the voluntary submission to the voice of the landlord, that is, of course, television.

“Awakened and reawakened” we used to say, within the persuasion that internet would have been the Aquarian media that would have give us the possibility to go beyond that brain-wash machinery that is the television. And really it can be.

Notwithstanding with this statement, we have to fight with the infiltration of the system, which works to disqualify each instance that goes to promis freedom. In a metaphysical level, we exposed the thesis in the essay called “The Law of Malkuth” where an explanation of the onthology of the passage of each soul in the earth is not automatically connected to freedom, but exclusively as exception.

How may it continues this speech?