A Tesseract Walkthrough

Now that everyone has reviewed the introductory material on this topic, it is time to actually work on navigating within a tesseract. As previously stated, a tesseract can be "unfolded" into eight (8) cubes in the same way that a paper cube can be unfolded into a calvalry cross. Now, having determined the vertices of the cubes in the method described previously, we end up with a table looking like this:

5	4	12	13	7	6	14	15
7	6	14	15	3	2	10	11
3	2	10	11	1	0	8	9
12	14	10	8	13	15	11	9
4	6	2	0	12	14	10	8
5	7	3	1	13	15	11	9
5	7	3	1	4	6	2	0
5	4	12	13	1	0	8	9

This is not terribly informative at this point. However, when the eight cubes are drawn out, the results are more informative. Please take a moment to review the below image, and note that I have left the eighth cube out of the drawing for clarity:

This drawing was created by sketching out the eight cubes, arbitrarily taking three cubes and stacking them on each other. For simplicity, I refer to these cubes as the base column, with the cubes being numbered (from the bottom) Base 1, Base 2 and Base 3. Similarly, the other four cubes shown are designated North, South, East and West cubes. The final cube (not shown) is referred to as the Transfer cube.If you look at the drawing, you will note that the cubes have been arranged so that the faces that touch another cube have the same numbers on their faces. For example, the east cube touches the Base 1 cube along the face 5,4,6,7 and the west cube touches the north cube along the face 2,6,0,4.

Now here comes the tricky part. The North, South, East and West cubes are not fixed in their positions. Note that these can be "rolled" up the Base Column to touch the central or upper cubes as well. This does not reflect that they are actually rolling, but that they are actually touching those cubes simultaneously. Let's take an example. Suppose that a visitor to the bottom Base Pillar cube decided to walk west into the West Cube. The visitor decides to climb up to the ceiling and go through it. From an outsiders perspective, the visitor would now be standing on the 6,7,3,2 face of the second cube in the Base Pillar! Someone who has watched the conclusion of the movie Labyrinth will immediately see the possibilities of movement inherent in the topography of a tesseract.

To clarify, now that the cubes for this example have been labeled we are left with the following table:

Base 1	5	4	12	13	7	6	14	15
Base 2	7	6	14	15	3	2	10	11
Base 3	3	2	10	11	1	0	8	9
East	12	14	10	8	13	15	11	9
North	4	6	2	0	12	14	10	8
South	5	7	3	1	13	15	11	9
West	5	7	3	1	4	6	2	0
Transfer	5	4	12	13	1	0	8	9

Next blog will detail the transfer cube!

Tesseract Magick Part IV: Tesseract Magick and the Enochian System

In recent months, I was introduced to a gentleman online who was interested in exploring the concept of Tesseract magic in the context of the enochian elemental tablets. An adept of the method pioneered by Benjamin Rowe in his excellent essay Enochian Temples, he was interested in expanding on the original method to fully encompass some potentialities of the system. I was intrigued by the idea, as my personal Great Table introduced in a previous posting had not been fully realized.

After some experimentation with the enochian elemental tablets, I was contacted and the failures he had encountered were detailed. It was resolved that he would continue to experiment, but that both of us would continue to explore the reasons for the difficulties being encountered. Having a general familiarity with the system, I began a systematic analysis of the enochian elemental tablets. In the course of my research, I undertook a mathematical analysis of the elemental correspondences of each of the squares in all four elemental tablets.

The enochian tablets in total are by definition a representation of a magical universe, presumably balanced among elemental forces of air, earth, fire and water. They are not. This is a bold statement, so I will explain in more detail. Mathematically, a balanced representation of four elemental forces where repetition is allowed (for example, a square with two faces being associated with Earth) but there the order in which those faces are colored is a type of combination. Mathematically, the number of combinations of four elements in sets of four where repetition is allowed but the order is important is 256. That is to say, a 16x16 grid of 256 squares is necessary to contain all possible combinations of elemental forces. By way of contrast, each enochian elemental tablet consists of a 12x13 grid of 156 combinations, which is approximately 60% of the number of squares required. Similarly, the entire enochian tablet containing all elemental tablets is likewise far too large to represent a balanced magical universe. Similar review of the Tablet of Union does not correct these errors. By definition, I submit that the underlying premise of the elemental tablets is flawed; it does not represent a balanced conception of the universe, and anyone with a tablet of paper and a free evening can verify this.

This discovery led to the creation of what is now referred to as the tesseract Great Table. Essentially, the Great Table is a 16x16 grid of tiles, with elemental forces associated with each face of each individual tile and consequently a balanced representation of the elemental forces of the universe. The Great Table is conveniently broken into four subtables with each subtable having lesser elemental angles like their enochian counterpart (fire of fire, water of air, etc.) and also inherently follows the mathematical and mathemagical connectivity structure of a tesseract.

As always, I invite discussion.

Tesseract Magic Part III: Operational Notes

The original Tesseract ritual as designed by Ebony Anpu was a working designed to essentially destroy this universe, shunting the caster to a new universe. Consequently, the caster might over the next week encounter their friend Steven, who has always had long brown hair and brown eyes. However, in addition to years of memories with Steven as just described, the caster might indeed have a duplicate set of memories where Steven was taller, with short black hair and different colored eyes. The ritual in question is not available except in the crudest and most incomplete versions on the Internet, as the creator and his students decided that the ritual was dangerous and not to be casually disseminated.

The ritual as it was originally created demonstratably works, but is not without inherent dangers. The original version was limited not in power but in scope; the caster could indeed shunt themselves to new universes but control was extremely limited, the caster could essentially get a new “version” that was dramatically better or worse than the previous with no recourse but to cast the ritual again. Finally, there was the issue of being able to do very little else in terms of expanding the corpus left by Ebony Anpu due to lack of understanding of the true mechanics of a tesseract. This is no slur on the work of Ebony Anpu; the mathematics of a tesseract were available at the time, but the true understanding of the actual architecture and it's connectivity were largely accessible only to a handful of university faculty.

At this point it is necessary both to summarize the first two portions of this document and place them in context to the overall operational schema of the expanded practice of Tesseract Magick. In Part I, the hypercube was illustrated and the base table was presented, along with an overview of how the base table illustrates the connectivity between the cubes, faces, edges and point of the tesseract. The base table and the tesseract illustration are sufficient to turn a tesseract. I have been experimenting in this fashion and I have enjoyed a higher degree of control regarding the new conditions I am wanting to jump to. The reason for additional control appears to be in the cubes. By standing on one cube with a known (and undesireable) set of conditions, one can move through cubes with changing conditions, changing them as you go. Note that a cube in a tesseract has six (6) faces like any other cube, so up to six circumstances can be undertaken, although normally the number of circumstances desired for change is smaller. This is one of the projects I would like to work with others to develop a concrete methodology on.

Part II concerns what is loosely called the Great Table, formed of four elemental tablets of 16x16 square configuration. The table has been published, but in actuality there is a second version of this table consisting of a single 16x16 square. Both tables have elemental attributions like the Enochian tablets. However, at this time these two versions are being reviewed. The two forms of the great table are two expressions of the same concepts, as both are designed to reflect a balanced magickal universe of air, earth, fire and water elemental energies, with each 4x4 grid (the base table) being numbered from 0 to 15. Now, the number of possible combinations of four elements where an element can be on more than one face is permissible and where the order the elements are displayed in is 256. This corresponds perfectly to a 16x16 grid formed of [4] base tables, each laid out in a manner similar to the Enochian elemental tablets. The purpose of the great table in either configuration allows aids in the projecting of elemental energies outward. As this is essentially working notes I shall be by necessity brief.

When projecting elemental energies for various purposes, the Great Table is of great value. Two primary methods are being reviewed at this time. The first method is to locate the square on the 16x16 grid with the designed alignment of elemental energies. When the square has been located, a sigil is drawn over the entire 16x16 matrix, with at least a single point located in each sub-table that is being invoked. I should have an example of this available shortly. For convenience, the numbers allocated to the various squares are replaced in a manner I shall presently post.

Alas, I shall have to continue this later.

Tesseract Magick Part II: The Elemental Tables

Tesseract Magick Part I: Intro and Navigation

Tesseract Magick is the name given to a ritual and a small body of knowledge that was originally created by Ebony Anpu and later carried on but not expanded on (to my knowledge) by the various Hawk & Jackal groups. Some material is out there on the internet, but in this case the primary ritual was deemed too powerful for the untrained to use and was wisely set aside. However,Wade Long retained a personal copy of the complete ritual. A former student of Ebony, he has the only physical handwritten copy of the ritual taken directly from Ebony's original. Since Wade had continued to use the ritual, along with the Rosslyn grove it was possible to have a solid understanding of the rituals and how it works based on the understanding of the creator. Unfortunately, that understanding of the tesseract was incomplete. This is no slight to Ebony Anpu, as I have enormous respect for his accomplishments and body of work. However, the available research on hypersolids simply wasn't available at the time. Consequently, his body of work could have been so much larger and encompassing.

The concept of Tesseract Magick was originally developed and promulgated by Ebony Anpu and continued by various groups and individuals since his death. A tesseract is what is referred to as a 4-cube or hypercube, loosely defined as a fourth-dimensional equivalent to a standard cube. A three-dimensional cube has (8) vertices, (12) edges and (6) faces. By comparison, a tesseract has (16) vertices, (32) edges, (24) faces and in fact can be “unrolled” into (8) cubes the same way a standard cube can “unroll” into a cavalry cross.

Let us consider how a tesseract is constructed. For convenience, the (16) vertices of the tesseract have been labeled from 0 to 15. If you look at the bottom of the image you can easily locate point 0, and a quick examination will reveal that vertex 0 connects to points 1, 2 and 3 to form a face. However, the layout of a tesseract can be very difficult to follow, and people unfamiliar with the intricate layout of this figure may have trouble. Luckily, there exists a simple chart that can reveal the construction of a tesseract and more importantly the relation of those components to the other portions of the tesseract.

The figure to the right is referred to mathematically as an adjacency matrix, which I will refer to as the base table for convenience. The base table can show one how to verify all faces and even cubes in the tesseract and their relationships to each other. Let us now learn about the relationships that can be discovered using this table.

Using the base table, it is easy to identify all of the 24 faces of the tesseract. All rows and columns reflect a face, so for example vertices 5,4,12 and 13 form a face and vertices 5,7,3 and 1 form a face as well. Please take a moment to review on the tesseract drawing to verify you understand. Now that you have verified the vertices of 8 faces, we can discover the others.

On the base table, a 2x2 grouping of squares is also a face, so for example vertices 8,9,10 and 11 form a face as does 10,2,6 and 14. Note that as you move from right to left, these faces “wrap around” back to the other side. For example, the square labeled 5 in the top right wraps around to 1,9 and 13 to form a square. For your convenience I have shown small squares to help illustrate this for you, inserting more “phantom base squares” to aid in understanding. With the (16) additional faces now shown, we can now identify all faces on a tesseract.

To find the eight cubes within a tesseract the method is even simpler. Every 2x4 grid of squares are the vertices of a particular cube. The image below shows them in two colors for easy reference.

It should be understood that it is also possible to determine all vertices that connect to any given vertex. In this case, taking the north, south, east and west neighbors will show these relationships. For example, vertices 14,2,8 and 11 are directly connected to vertex number 10. Again, please verify of the tesseract illustration to verify this.