#azoetia

Directed by :

David Cronenberg: Purva Bhadrapada ♓︎ Sun

Staring:

James Woods: Pushya ♋︎ Asc, Ashwini ♈︎ Sun, UBP ♓︎ Moon Mercury and Mars.

Debbie Harry: Vishakha ♎︎ Asc, Ardra ♊︎ Sun (conj Rahu), UBP ♓︎ Moon, Krittika ♉︎ Venus

(Spoilers included)

Videodrome is a great example of the depth held in Pisces. While it can be easy to see the beauty of Venus' exaltation in this sign, Cronenberg shines a light on the horror and brutality that swims deep in the Piscean waters. There is a balance in everything, with Venus exalting to the highest height in this sign, the most disturbing depths stir beneath to equilibrate this exaltation. UBP is a very prominent nakshatra in the two lead actors in this film and the nak themes of UBP are woven into the entire story. Ahirbudhnya, “the serpent of the depth” , rules over this nakshatra and his symbolism is written all over Videodrome. The Narayana form of Vishnu sleeps on his coils and dreams the world into existence.

This film was released in 1983, and one of its core themes is the threat technology/television poses to audiences. Another central theme is the effects of technology on the human mind, body, and specially the nervous system (Mercury). In 1983 Fred Cohen introduced the term and concept of a “virus” into technological language. The year after Videodrome’s release the first Mac computer debuted, subsequently followed by the release of the first windows program (1985), and adobe photoshop (1988). UBP is a Saturn ruled nakshatra, and Saturn rules time. Following the release of this film, technological giants surfaced that are still foundational and relevant to our current technology. 

In the movie, an organization is testing how to conceal a frequency within a television broadcast designed to induce the growth of a brain tumor. This brian tumor causes audiovisual hallucinations. They veil the frequency in graphically violent films. Originally, “videodrome” (the frequency and program being broadcast) was developed by “Dr. Brian O'blivion”, and the tumor was originally intended to be a new part of the brain to advance human evolution in accordance with the growth of technology. Saturn corresponds with the gradual development of the human body, Saturn is the crystallization of form. 

The developers working with Dr. O’blivion hijacked the project and turned it into a method of psychic attack and mind control. This, to me, illustrates Pisces ability to manipulate. Pisces understands desire (Venus exaltation) in such a way that it can override logic (Mercury debilitation). This is seen in the tumor inducing frequency bypassing the conscious awareness during exposure.

“The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind's eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.”

- Dr. Brain O’blivion.

The videodrome frequency being concealed within a television program reflects Ahirbudhnya residing underneath the surface of experience while Vishnu dreams the illusory projection of reality. Serpents have been associated with rebirth, occluded knowledge, and transcendental experiences since the beginning of time. This theme emerges towards the latter half of the movie. The final scene interestingly parallels archetypal initiatory experiences found in ophidian centered/crooked path practices. The primary ritual in the Dragon Book of Essex, and the Egress rite of the Azoetia mirror the final scene, ritualistic self transcendence to assume the “new flesh”.

Pisces is the final rashi before rebirth into Aries, symbolizing the film's focus on dissolution (12H/Pisces) and birth (1H/Aries). The main character is played by Ashwini Sun James Woods. The conclusion takes place on a derelict ship in a harbor (12H), which James Woods actually suggested.

A while back I had taken the time to draw out this description of Andrew's altar. You can really feel his style through how he sets up the space. Made up of two separate altars: the High Altar and the working altar, they each serve a different purpose.

But, both heavily emphasise the images, icons and bodies of the various entities within the spiritual congress. The positioning of the different items have various meanings, perhaps how he arranged the fetishes on the working altar depended on the season (or other specific timing).

The double altars can represent the double nature of the sabbatic space, the seen and unseen circle.

Rereading through all this helped inspire my own interpretation of the double altar space. Shown in the second design, I spent time infusing my other practices into the design. On the top surface, the elemental weapons are placed around the altar - each placed at a specific point of the 8 pointed star. The Fetish Tree (Stang) is inserted in the center, where I would hang charms, talismans, amulets, etc.

Inside, there is a second 8 pointed star that would house the fetishes inside - each positioned at a point. The idea that I could rotate them below depending on the working. By condencing the altars in this way, it is easier to house the altar in the center of the circle (my preferred altar spot).

Not too long ago, I was able to find an affordable copy of the Azoëtia following some potent and somewhat shocking, yet exciting, spirit contact and became obsessed at the thought of purchasing and working the storied grimoire. I made a decision to purchase the tome and was met with a spontaneous, affirmative omen of involuntary spirit flight the night that I followed through with my decision.

Since that night, I have been steadily reading through again and again, indexing, note taking, and making sense of the practicum within the context of my own spirits, the land I find myself on, the omens therein, and the overall situation I find myself in as a practitioner, as well as putting to practice some of the calls to action found within the book as immediately as I am able.

I feel confident in my next steps moving forward, utilizing the framework this book offers, to synthesize cohesion in my ongoing practices of spirit work, divination, spell casting, spirit flight, and Witchery; especially in the context of its religious/ devotional aspects.

I’m a bit awestricken at how cleanly this book, as well as many of the other Sabbatic works, seamlessly links many thoughts and intuitive feelings I’ve had about the nature of Witchcraft since my earliest days practicing, while still maintaining a multifaceted glamour that has me wanting to dig in and get my hands dirty while walking these many crossed and crooked roads.

Arca Somniorum, the Box of Dreams