sympathy-for-the-devil_the-true-story-of-the-process-church-of-the-final-judgment_neil-edwards_2015_uk_101-minSympathy for the Devil : The True Story of the Process Church of the Final Judgment (2015) by NEIL EDWARDS

Sympathy for the Devil : The True Story of the Process Church of the Final Judgment
Neil Edwards, UK, 2015, 101 min


124 S 3rd St, Brooklyn, NY 11249

Filmmaker NEIL EDWARDS in attendance

Google ‘The Process Church of the Final Judgment’ and you will discover a long list of lurid conspiracy theories. The cult has been accused of being the inspiration for Charles Manson’s ‘crimes of the century’, influencing the assassination of Bobby Kennedy, and being the root of the notorious Son of Sam serial killings.

Formed in 1960s England, many of its members were drawn from wealthy families and aristocracy. Newspapers branded them the ‘Mindbenders in Mayfair’ and ‘The Devil’s Disciples’. Ever since, members of The Process have adopted a secretive stance. Only now, have former members of the inner circle agreed to reveal the truth behind the conspiracy theories, and open up about their beliefs, rituals, and the closely guarded secret of the real power behind it all.

The film gets behind the veils of the cult and tracks their journey from their formation in London’s prestigious Mayfair district, through wilderness experiences in Mexico, flirtations with pop royalty, and their spread state-side that resulted in them being ‘christened’ ‘One of the most dangerous satanic cults in America.’

With contributions from leading former members of the cult, and insights from filmmaker John Waters (who encountered the cult whilst living in New Orleans) George Clinton (who included Process writings on his Funkadelic albums). Plus artist Genesis Breyer P-Orridge, and renowned authors Gary Lachman, Robert Irwin, Gaia Servadio (who infiltrated the group in 1966), and Manson biographer Simon Wells.

Visions in Magickal Cinema
Dir. Brian Butler, Carl Abrahamsson & Pierre-Luc Vaillancourt, 2009-2016
Total running time of 106 min


124 S 3rd St, Brooklyn, NY 11249

Filmmaker PIERE-LUC VAILLANCOURT in attendance

The manifestation of Nuit, its visions in the hypnagogic fields of cinema. These magickal films are exploring various realms of consciousness, challenging the nature of cinema by their singular artistic visions, esoteric sensibilities and remarkable metaphysical insights.

Resonating with the ideas of great visionaries such as Aleister Crowley, John Dee, Edward Kelley and Derek Jarman, these films are reaching the furthest regions of perceptive ocular vision, where the eyes and the noumenal world unite. Dazzling visual alchemy, hypnotic magnetic pulsations, mesmerizing electronic compositions and beautiful magick rituals resides in these powerful mind-bending films.

Dir. Brian Butler, 2009
USA, 6 min.

Dir. Brian Butler, 2016
USA, 9 min.

Dir. Pierre-Luc Vaillancourt, 2015
Canada, 8 min.

Dir. Pierre-Luc Vaillancourt, 2015
Canada, 23 min.

Dir. Carl Abrahamsson, 2016
Sweden, 60 min.


Union of Opposites (2012) by BRIAN BUTLER (January 10, 2013)
Loch Ness Magick (2008) by BRIAN BUTLER (June 2, 2011)
BRIAN BUTLER’s Magick Act (June 2, 2011)

GENESIS BREYER P-ORRIDGE: a pandrogenous devotee of sex magick. Photograph: Peter Dibdin/Publicity image

GENESIS BREYER P-ORRIDGE: a pandrogenous devotee of sex magick. Photo Peter Dibdin/Publicity image

GENESIS BREYER P-ORRIDGE and TONY OURSLER have spent many years exploring paranormal phenomena through their artworks. Now, both have major exhibitions in New York – and suddenly they’re not alone in their interests.

Drugs, blood, caskets, fish and hair all feature in the arsenal of supplies enlisted for art by GENESIS BREYER P-ORRIDGE. A few more, for variety’s sake: bones, a brass hand, dominatrix shoes and the discarded skin of a pet boa constrictor.

Best known as a musical dissident with the proto-industrial band Throbbing Gristle and later Psychic TV, BREYER P-ORRIDGE has made visual art for decades as part of a ritualistic practice in which boundaries tend to blur. The first transmissions of musical noise started in the 1970s, but art has been part of the project from several years before then to the present day. Work of the more recent vintage makes up the bulk of GENESIS BREYER P-ORRIDGE: Try to Altar Everything, an exhibition on view at the Rubin Museum of Art in New York.

The Rubin show focuses on correspondences between global contemporaneity and historic cultures from areas around the Himalayas and India, and the show surveys, in an expansive fashion, BREYER P-ORRIDGE’s engagement with ideas from Hindu mythology and Nepal. Nepal is a favored haven away from the artist’s home in New York, but – as with most matters in BREYER P-ORRIDGE’s realm – worldly matters turn otherworldly fast.

Reliquary by GENESIS BREYER P-ORRIDGE. Photo Invisible Exports

‘Reliquary’ by GENESIS BREYER P-ORRIDGE. Photo Invisible Exports

Visitors to the exhibition are greeted by two large illuminated portraits of nude bodies on the surface of caskets standing on end, one belonging to the artist and the other to h/er late partner and muse LADY JAYE BREYER P-ORRIDGE. The unorthodox pronoun “h/er” is not a mistake but the preferred way to address the genderless existence of the pandrogyne, a state of male-female fusion the two were seeking to achieve by way of surgical incursions and rituals to combine souls. The undertaking was chronicled intimately in the 2011 documentary The Ballad of Genesis and Lady Jaye, released to wide acclaim four years after LADY JAYE fell prey to cancer and died (or “left her body,” as GENESIS tells it). Now, Try to Altar Everything brings some of the couple’s collaborative artwork into the light.

Blood Bunny, made over 10 years until its completion in 2007, is a sculpture under glass of a wooden rabbit covered in blood. Hanging from its head is a ponytail made from LADY JAYE’s hair, bright blond in contrast to the dark blood all but black in its desiccated state. The source of it was needle pricks from injections of the powerful drug ketamine, which the couple took – and BREYER P-ORRIDGE reveres still – for its fabled out-of-body experiences.

“It’s such a powerful material that we don’t waste it – we use it. We’ve got little vials of blood in our refrigerator at home,” BREYER P-ORRIDGE says while staring the bunny down at the museum on a recent sunny afternoon.

'Blood Bunny': includes blood infused with ketamine. Photo Invisible Exports

‘Blood Bunny’: includes blood infused with ketamine. Photo Invisible Exports

Nearby are a small sculptural shrine with dried fish slathered in sparkles over an abstract mandala design (Feeding the Fishes, 2010) and an odd clock remade with fossil teeth, feathers and bits of gold alluding to alchemical forces (It’s All a Matter of Time, 2016).

Works of the sort in the show serve as reliquaries or tools for use in rituals rooted in a mixture of familiar religions (Buddhism, Hinduism, voodoo) and inclinations toward the more arcane realms of black magic and the occult.

“We’ve investigated lots of avenues and that includes occulture of various types,” says BREYER P-ORRIDGE, who uses the word “we” exclusively in reference to a sort of individual and collective self. Early learning from occult figures like ALEISTER CROWLEY and mysterious magical sects like the Ordo Templi Orientis led to a lifelong devotion to ritualistic practice that has expanded and evolved.

S/he speaks highly still of “sex magic, where the orgasm is the moment when all forms of consciousness in your mind are joined, temporarily, and therefore you can pass a message through.” And other ceremonial endeavors involving age-old symbols and codes continue to be part of a method of art-making that is as much about the making as the end result.

GENESIS BREYER P-ORRIDGE 'Feeding the Fishes': a small sculptural shrine. Photo Invisible Exports

GENESIS BREYER P-ORRIDGE ‘Feeding the Fishes’: a small sculptural shrine. Photo Invisible Exports

An essay in the catalog for the Rubin show refers to BREYER P-ORRIDGE’s earliest work’s dedication to “the ‘discovery of intention’, meaning it created and unearthed its message and relevance through performance, not before,” while characterizing h/er ritual-abetted communion with LADY JAYE as a “living, experimental work of art in the process”.

The exhibition, which continues through 1 August, arrives in the midst of a certain vogue for art attuned to occult practices. Last fall, a survey of demonic and deranged paintings by MARJORIE CAMERON, an associate of notorious rocket-scientist/occultist JACK PARSONS and film-maker KENNETH ANGER, showed at the gallery of prominent New York art maven JEFFREY DEITCH. A group show titled Language of the Birds: Occult and Art gathered work by the likes of BRION GYSIN, JORDAN BELSON, ANOHNI, LIONEL ZIPRIN, CAROL BOVE and many more (including BREYER P-ORRIDGE) in the 80WSE Gallery at New York University. Uptown at the American Folk Art Museum, a show titled Mystery and Benevolence: Masonic and Odd Fellows Folk Art drew visitors before closing in May.

Enough interest has been fostered and fanned out to make one wonder about the source of it all. Is it a yearning for art made for purposes other than mere aesthetic enterprise? A desired deferral to forces other than those proffered by markets and asset-class finance deals? A curiosity about creations devised with a mind for matters at play outside internal dialogues within just the art world itself?

TONY OURSLER, who has a new exhibition with paranormal proclivities on view at the Museum of Modern Art, says he can see the appeal of looking beyond the artistic pursuit for other forms of reason and rationale.

“A lot of people are trying to move into more social practices to find some relevance. It’s probably refreshing for people to see a certain kind of agency that can be offered in other practices,” the artist says.

OURSLER’s show is more playful and inclined toward levity and debunking than BREYER P-ORRIDGE’s. It includes parts of an immense archival collection related to stage magic and historical matters such as spirit photography and telekinetic mediums popular in the early 20th century, when notions of ghosts and transmissions from other worlds were very much part of the cultural conversation. The archive and a fanciful feature-length film, Imponderable, chart a peculiar history involving OURSLER’s own grandfather CHARLES FULTON OURSLER and his real-life dealings with characters including SIR ARTHUR CONAN DOYLE, HOUDINI and various spirit-world fixtures who turned out to be hucksters and frauds.

About the magnetism of such a subject, OURSLER speaks of an “unending interest in magical thinking and how it’s generated through media and various social means that led me back to these world views.”

He insists, too, that they are not as anachronistic as many might suspect. “Everyone walks around with a matrix of beliefs through which they view the world,” OURSLER says. “Statistically, if you look at America, it turns out roughly 60% of the population believes in ESP. One in three people do not believe in evolution. Forty percent of the public believes in UFOs. The rationalism we assume to be there might not, in fact, be there.”

BREYER P-ORRIDGE attributes rising interest in the occult to certain fleeting motivations. “Some of it is pure fashion, always,” s/he says. But the role of ritual and faith in its own ends can be a guide. After growing weary of the hierarchies and conscriptions of ceremonial magic as practiced early on (see: robes, chants, gestures with strict limitations and rules), “We thought: Do you need all the fancy theatrics or is there something at the core that makes things happen? Our experience tells us it’s just one or two things at the core. One of those is being able to reprogram one’s deep consciousness through repetition in ritual.”

When a working sense of ritual conjoins with the process of making art, the result might be differently invested. “When we walk around to galleries, we’re nearly always disappointed,” BREYER P-ORRIDGE says of art s/he sees around town. “Most of it is not about anything. It’s decorative at best and looks nice in penthouses. And now it’s gotten more corrupted because it’s like the stock market – people going around to advise people what to buy as an investment. You can’t trust the art world.”

To be trusted instead: “That strange reverberation that tells me what’s fascinating.”

Andy Battaglia
The Guardian


First Transmission (1982) by PSYCHIC TV (January 7, 2015)
Bight of the Twin (2014) by HAZEL HILL McCARTHY III (July 1, 2014)
Les yeux de GENESIS BREYER P-ORRIDGE présentés à La Centrale (October 1, 2012)
La bible psychique de GENESIS BREYER P-ORRIDGE (December 7, 2010)
‘Thee Psychick Bible’ A New Testameant By GENESIS BREYER P-ORRIDGE (October 27, 2009)

Pagan Otherworlds Tarot (2016) by UUSI

Pagan Otherworlds Tarot (2016) by UUSI

‘A groundbreaking tarot by the designers and artists LINNEA GITS and PETER DUNHAM that introduces a 23rd Higher Arcana card, “The Seeker” and five “Luna Cards” – all original introductions to the tarot format created by Uusi and found exclusively in Uusi’s Pagan Otherworld’s Tarot.

Pagan Otherworlds Tarot (2016) by UUSIPagan Otherworlds Tarot (2016) by UUSI


Pagan Otherworlds Tarot (2016) by UUSI

Pagan Otherworlds Tarot (2016) by UUSI


Pagan Otherworlds Tarot (2016) by UUSI

Pagan Otherworlds Tarot (2016) by UUSIPagan Otherworlds Tarot (2016) by UUSI

Pagan Otherworlds Tarot (2016) by UUSI

Uusi’s Pagan Otherworld’s Tarot

‘All imagery in this 84 card deck is hand painted using traditional oils by LINNEA GITS and all copy is hand lettered by PETER DUNHAM. The deck is inspired by the visual beauty of nature, early Celtic mysticism and the luminous beauty of Renaissance paintings.’


HEXEN 2039 (2006) & HEXEN 2.0 (2009-11) by SUZANNE TREISTER (June 2, 2015)

DAVID S. HERRERIAS 'Ego Dominus Tuus (2014)

DAVID S. HERRERIAS 'Eros and Thanatos dialogue' (2014) acrylics pastels and ink on paper

DAVID S. HERRERIAS 'Dionysian Ecstasies'

DAVID S. HERRERIAS 'Chalice of Revelation' (2015) acrylics on canvas, 44 x 35 cm

DAVID S. HERRERIAS 'Gate I' & 'Gate II' (2015), Ink and acrylics on paper

DAVID S. HERRERIAS 'Akhlys' (2015) acrylics and charcoal on paper

DAVID S. HERRERIAS 'Journey to the inorganic beings realm' (2015) Acrylics on paper, 30 x 30 cm

DAVID S. HERRERIAS 'Anabasis from deep comatose (2014)


DAVID S. HERRERIAS 'Sketch of Sphinx and Death's kiss (2015)

DAVID S. HERRERIAS 'Study of the Chalice of Revelation' (2015) 20 x 31cm

DAVID S. HERRERIAS 'The Triumph of Death' (2014)

DAVID S. HERRERIAS 'Vikalpa' (2014) charcoal graphite and blood on paper, 25 x 25 cm

DAVID S. HERRERIAS 'Zos - Kia' (2014)

DAVID S. HERRERIAS 'Zosimos Separatio' (2015) Acrylics and gilding on paper, 30 x 30 cm

Self-taught artist involved in occultism and alchemy, born in Mexico city in 1982. He moved to Sweden in the winter of 2006 and he is currently living and studying in Gothenburg.

Part of his work approach is to enter consciously in communication with higher spheres through an inner alchemical process in order to manifest them in some of his works, yet, he is still working in this process.



ROME – An underground chamber that was a place of worship for a mysterious cult 2,000 years ago has opened to the public for the first time

Riccardo Mancinelli, technical director of the team in charge of restoring stucco figures on the walls of the pre-Christian, 1st century, underground basilica of Porta Maggiore. Photo: Chris Warde-Jones/The Telegraph

Riccardo Mancinelli, technical director of the team in charge of restoring stucco figures on the walls of the pre-Christian, 1st century, underground basilica of Porta Maggiore. Photo by Chris Warde-Jones/The Telegraph.

A mysterious Roman basilica built for the worship of an esoteric pagan cult and now lying hidden more than 40ft below street level has opened to the public for the first time.

The basilica, the only one of its kind in the world, was excavated from solid tufa volcanic rock on the outskirts of the imperial capital in the first century AD. Lavishly decorated with stucco reliefs of gods, goddesses, panthers, winged cherubs and pygmies, it was discovered by accident in 1917 during the construction of a railway line from Rome to Cassino, a town to the south. An underground passageway caved in, revealing the entrance to the hidden chamber.

A painstaking restoration that has been going on for years has now reached the point where the 40ft-long basilica can be opened to visitors.

The subterranean basilica, which predates Christianity, was built by a rich Roman family who were devotees of a little-known cult called Neopythagoreanism. Originating in the first century BC, it was a school of mystical Hellenistic philosophy that preached asceticism and was based on the writings of Pythagoras and Plato.

“There were lots of cults worshipped at the time and the empire was in general fairly tolerant towards them,” said Dr Giovanna Bandini, the director of the site. “But this one was seen as a threat because it discounted the idea of the emperor as a divine mediator between mortals and the gods.”

The basilica is thought to have been constructed by the influential STATILIUS family. But they were accused of practising black magic and illicit rites by Agrippina, the ruthless, scheming mother of the Emperor Nero. The head of the family, TITUS STATILIUS TAURUS, was investigated by the Senate for what Tacitus in his Annals called “addiction to magical superstitions”. He protested his innocence but committed suicide in AD53. The basilica eventually fell into disrepair and was sealed up during the reign of the Emperor Claudius before being forgotten about.

A dedicated team of experts is restoring the interior of the basilica, scrubbing away mould and removing encrusted deposits of calcium with chemicals, tools and lasers. Scaffolding platforms have been built in order to allow the restorers to access the arched ceiling, which is covered in stucco reliefs, some decayed but others in a remarkable state of preservation. The restorers remove thick layers of calcium deposits first by hand, with scalpels, and then use small drills. “They are the sort that you see in a dentist’s surgery,” said Riccardo Mancinelli, the technical director of the project.

The basilica consists of three naves lined by six rock pillars and an apse, all decorated with finely executed images of centaurs, griffins and satyrs. There are depictions of classical heroes such as Achilles, Orpheus, Paris and Hercules. The head of Medusa guards the entrance to the chamber, while the lower parts of the walls are painted a deep ox-blood red, with renditions of wild birds and women in togas.

The basilica, which is entirely hidden to the outside world and accessed via a door masked from the street by a mesh fence, lies directly beneath the railway line. Trains rumble noisily overhead.

“It was dug out of tufa, which is a rock that is easy to excavate. It is the reason that there are so many catacombs beneath Rome,” said Mario Bellini, an engineer involved with the project.

Although the restoration is still under way, the basilica can now be visited by tourists. Groups will be kept small because of the fragility of the monument. “The temperature and humidity must be kept constant,” said Dr Bandini. “The temperature must not rise above 18C and humidity must not rise above 92 per cent. “But it mustn’t go below 87 per cent either, otherwise the stucco starts to dry out and crack.”

“This place is unique in the Roman world in terms of its architecture and design. It was a precursor to the basilicas built during the Christian era, centuries later.”

Nick Squires
The Telegraph

A team of scientists led by renowned French marine archaeologist Franck Goddio recently announced that they have found a bowl, dating to between the late 2nd century B.C. and the early 1st century A.D., that is engraved with what they believe could be the world’s first known reference to Christ.

A bowl, dating to between the late 2nd century B.C. and the early 1st century A.D., is engraved with what may be the world's first known reference to Christ. The engraving reads, "DIA CHRSTOU O GOISTAIS," which has been interpreted to mean either, "by Christ the magician" or, "the magician by Christ."

A bowl, dating to between the late 2nd century B.C. and the early 1st century A.D., is engraved with what may be the world’s first known
reference to Christ. The engraving reads, “DIA CHRSTOU O GOISTAIS,” which has been interpreted to mean either, “by Christ the
magician” or, “the magician by Christ.”

If the word “Christ” refers to the Biblical Jesus Christ, as is speculated, then the discovery may provide evidence that Christianity and paganism at times intertwined in the ancient world.

The full engraving on the bowl reads, “DIA CHRSTOU O GOISTAIS,” which has been interpreted by the excavation team to mean either, “by Christ the magician” or, “the magician by Christ.”

“It could very well be a reference to Jesus Christ, in that he was once the primary exponent of white magic,” Goddio, co-founder of the Oxford Center of Maritime Archaeology, said.

He and his colleagues found the object during an excavation of the underwater ruins of Alexandria’s ancient great harbor. The Egyptian site also includes the now submerged island of Antirhodos, where Cleopatra’s palace may have been located.

Both Goddio and Egyptologist David Fabre, a member of the European Institute of Submarine Archaeology, think a “magus” could have practiced fortune telling rituals using the bowl. The Book of Matthew refers to “wisemen,” or Magi, believed to have been prevalent in the ancient world.

According to Fabre, the bowl is also very similar to one depicted in two early Egyptian earthenware statuettes that are thought to show a soothsaying ritual.

“It has been known in Mesopotamia probably since the 3rd millennium B.C.,” Fabre said. “The soothsayer interprets the forms taken by the oil poured into a cup of water in an interpretation guided by manuals.”

He added that the individual, or “medium,” then goes into a hallucinatory trance when studying the oil in the cup.

“They therefore see the divinities, or supernatural beings appear that they call to answer their questions with regard to the future,” he said.

The magus might then have used the engraving on the bowl to legitimize his supernatural powers by invoking the name of Christ, the scientists theorize.

Goddio said, “It is very probable that in Alexandria they were aware of the existence of Jesus” and of his associated legendary miracles, such as transforming water into wine, multiplying loaves of bread, conducting miraculous health cures, and the story of the resurrection itself.

While not discounting the Jesus Christ interpretation, other researchers have offered different possible interpretations for the engraving, which was made on the thin-walled ceramic bowl after it was fired, since slip was removed during the process.

Bert Smith, a professor of classical archaeology and art at Oxford University, suggests the engraving might be a dedication, or present, made by a certain “Chrestos” belonging to a possible religious association called Ogoistais.

Klaus Hallof, director of the Institute of Greek inscriptions at the Berlin-Brandenburg Academy, added that if Smith’s interpretation proves valid, the word “Ogoistais” could then be connected to known religious groups that worshipped early Greek and Egyptian gods and goddesses, such as Hermes, Athena and Isis.

Hallof additionally pointed out that historians working at around, or just after, the time of the bowl, such as Strabon and Pausanias, refer to the god “Osogo” or “Ogoa,” so a variation of this might be what’s on the bowl. It is even possible that the bowl refers to both Jesus Christ and Osogo.

Fabre concluded, “It should be remembered that in Alexandria, paganism, Judaism and Christianity never evolved in isolation. All of these forms of religion (evolved) magical practices that seduced both the humble members of the population and the most well-off classes.”

“It was in Alexandria where new religious constructions were made to propose solutions to the problem of man, of God’s world,” he added. “Cults of Isis, mysteries of Mithra, and early Christianity bear witness to this.”

Jennifer Viegas
Discovery News

First Transmission
Produced by Ken Thomas & Psychic TV, UK, 1982, 240 min

“The music itself was designed not only as soundtrack but also for subsequent use by Initiates of The Temple Ov Psychic Youth in their rituals as Functional music only to aid in the process of making things happen. It is a practical tool.”

First Transmission (1982) by PSYCHIC TV

First Transmission (1982) by PSYCHIC TV



Les yeux de GENESIS BREYER P-ORRIDGE présentés à La Centrale (October 1, 2012)
T.G.: Psychic Rally in Heaven (1981) by DEREK JARMAN (July 4, 2011)
LA BIBLE PSYCHIQUE de Genesis Breyer P-Orridge (December 7, 2010)
‘THEE PSYCHICK BIBLE’ A New Testameant By Genesis BREYER P-ORRIDGE (October 27, 2009)

Liturgie Apocryphe

"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.

The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.


The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".