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David Allen Hulse is a lifetime student of the occult sciences and in particular of the relationship between ancient languages, number codes and the mysteries within sacred texts such as ‘The Book of the Law’ dictated to Aleister Crowley in Cairo, Egypt during three days in April 1904.
‘When any person, an individual or even a prophet, attains a realisation it sometimes leaves a physical residue, a knot in the fabric of space and time, perhaps some ethereal production imbued with the original force to which that individual, even the rest of humanity, looks for guidance and a pathway back to those sublime heights. A sacred book, poetry, art, sublime philosophy, these are the familiar productions resulting from such experiences, but how often do we seek signs of the same sublimity in mechanics, in physics or mathematics? Mostly such discoveries remain concealed, their brilliance hidden from us, their language mute like the statues of an ancient temple. Yet these mute books, based as they are on the science of number, may yet be read.’
From the introduction to ‘ABRAHADABRA’
Using his extensive knowledge and experience of this text, David Allen Hulse embarked upon a 40 year study of its secret codes and their relationship to other ancient occult ciphers from the western and eastern occult systems, Hebrew, Greek, Celtic tree alphabet, Latin, Enochian, Rosicrucian, Egyptian, classical Greek, Tantric, Tibetan and Sanskrit.
Originally conceived in 1979 and continuously updated with fresh discoveries, the book ‘ABRAHADABRA’ is the single most extensive work in this field, taken together with the hieroglyphical deck ‘Sepher Aiwass’ they constitute the only experimental occult tool of their kind.
This book, together with its deck of hieroglyphical divination cards, oracle cards if you will, sets a new precedent in the study of the philosophy of language, of esotericism, of spiritual occultism and the application of that study to initiation in higher dimensions of space and time. Together, the deck and the book ‘ABRAHADABRA’, they constitute a record of an experiment in the psychology of mystical experience, both the authors and your own. Even as you are reading these words ideas spanning dimensions form within your mind, such connections as these follow intimately the very structure of matter, of space and time.
The deck reproduces the authors original designs without varnish, like the first equations describing an advanced mathematical theory they are direct and uncompromising representations of dynamic ideas, ideas capable of causing great change in ones understanding of the universe.
Esoteric systems using the visual or symbolic method such as the Tarot are widely used today, the notion that such symbolic systems may call forth information stored subconsciously, or that they may serve to aid in the discerning of patterns in behaviours and in the divining of future events is a common feature of occulture, the field of arts and literature deriving from a study of and interaction with occult forces. Though the symbols in some decks appeal to ones intellect, far too many divinatory decks are merely examples of the decorative arts, offering us nothing in terms of a next step in occult science. Such ‘occulture’ pretends to challenge us, but does so only within the limits of what we are already willing to accept.
The finer more exacting use of such an esoteric system as we see here, one looking to enter more directly into the activity of destiny not in terms of personal powers or agents, but in terms of its governing mechanics is truly very rare. The ancient Chinese system of the I Ching could be said to be one such method of wedding together the subtle aspects of the mind with the very mechanics of circumstance, the manipulation of space and time within consciousness. In general the divinatory sciences derive their confirmation from information received or channelled through a faculty of the mind susceptible to fluid change, the language of imagery connected to historic culture, past lives, intuitional stirrings. In such a case the possibility of ‘proof’ such as it is, depends upon an innate sense of correctness, of personal confirmation. With the cards here before you a new form of proof may be possible.
Number, the basic building blocks of the various dimensions of the universe, lies at the heart of this new method. The root of language, not language as words but as ‘facts’ that is as the fundamental structure of meaning, lies in the power of number and the manner in which numbers describes being.
A brief sketch of the larger philosophical-mystical implications of this may be found in the ‘Naples Arrangement’ and also ‘Liber Trigrammaton’ by Aleister Crowley, an early attempt to fix a definite system of mystical and magical attributes for the root of thought as language. |
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