Did Magician cause UFO Sightings?

The purpose of this article is to examine the suggestion that the current wave of UFO activity that began in 1947 with Kenneth Arnolds sighting over the Cascade Mountains was deliberately caused by a series of magickal workings carried out by occultists. Over fifty years later, the UFO wave is still being actively encouraged by certain secret societies intent on using extraterrestrial knowledge to steer the course of human evolution.

The name Aleister Crowley is synonymous with secret societies and occult workings. Revered in occult circles as the master of occult matters his name still evokes vehement horror in the minds of some, who regard him as the anti-Christ personified. A master self-publicist and anti-establishmentarian, he adopted the magical number 666 as his own and positively embraced “The Beast” label the largely ignorant British press gave him in response to this.

What has a Hermetic magician and high ranking member of several secret societies (The Freemasons, Golden Dawn, Order of the Silver Star, Thelma and O.T.O) have to do with extraterrestrials, you may ask.

The answer lies in the rather interesting drawing that Crowley made in 1918. It shows an alien intelligence that he came into contact with during a series of invocations called the Amalantrah workings that he carried out in New York over a three-month period in 1918. Crowley was in the practice of sketching the beings that he encountered during his evocations to add to the detailed written records that he kept of all his magickal workings.

The Amalantrah working was part of what Crowley termed ‘The Great Work,’ the intentional cultivation of spiritual growth. According to Crowley part of the great work involved “the establishment of contact with non-human intelligences” – in other words, beings that were not of this world — or what we would term extraterrestrials.

The purpose of the Amalantrah invocations, by Crowley’s own admission, was to open an interdimensional portal that would allow him access to beings from other dimensions. One of the beings that came through this portal, the one Crowley sketched was named LamLam it should be noted is regarded by occultists as a generic entity rather than an individual being. The drawing seems to bear a startling resemblance to the popular conception of a Gray.

The picture of Lam itself can certainly be considered genuine as it has a verifiable history. Crowley actually included the portrait of Lam in his ‘Dead Souls exhibition’ held in Greenwich Village, New York, in 1919. It was also used as an illustration to H.P. Blavatsky’s book The Voice of the Silence (below image) around the same time.


Beneath the picture Blavatsky wrote:

“Lam is the Tibetan word for Way or Path, and LAMA is He who Goeth, the specific title of the Gods of Egypt, the Treader of the Path, in Buddhistic phraseology.”

When the Amalantrah working were complete, Crowley ensured that the portal he had used to grant Lam access to our world was sealed.

The original drawing of Lam was given to Kenneth Grant, one of Crowley’s brightest students and eventual successor as head of O.T.O in 1945. Grant’s interest in the SETI (Search for Extraterrestrial Intelligence) phenomena is long-standing and his position as head of O.T.O has enabled him to pursue and develop this interest among the membership of his organization.

In 1955 Grant announced the discovery of a trans-plutonian planet called Isis. It was at this time that he established an order called the New Isis Lodge OTO for the purpose of contacting higher intelligences.

The story goes that in the late 1980s, Grant allegedly received “messages” that led to him conclude that Crowley’s portrait of Lam could be used to provide a focus point for the extraterrestrial energy that had originally been invoked in 1918. Why it took Grant so long to realize this is unclear, as using such objects as a point of focus is not uncommon in occult circles. Possibly it was the scale of the activity that Grant realized needed to be increased to allow the potential of Lam was to be fully realized.

To promote and regulate use of the portrait amongst his societies members, Grant wrote a text called the Lam Statement. The purpose of the Lam statement was to,

“regularize the mode of rapport and construct a magical formula for establishing communication with Lam.”

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Ragnar Larsen

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