Chaos-Gnosticism

 From Khaos to C.A.O.S . Text and image by Tommy Eriksson Few concepts in Western intellectual history have undergone as fascinating a transformation as the word chaos . Today, it is commonly used as a synonym for disorder, confusion, or randomness. For the Greek poet Hesiod, however, the word meant something profoundly different. Khaos was the first reality, the primordial opening from which the cosmos could emerge. Between these two meanings lies almost three thousand years of philosophy, religion, literature, and esotericism. When I first began exploring the earliest Greek sources, I was struck by how far the modern understanding of the word had travelled from its origins. The further one follows the concept through history, the clearer a recurring thread becomes: chaos repeatedly appears as a symbol of the creative potential that precedes every form. Khaos – the First Principle The oldest surviving Greek creation account is found in Hesiod's Theogony , composed around 700 B...

SANTA MUERTE ( Updated version ) By Tommy Eriksson ( from The Satanic Order )  Santa Muerte (“Holy Death”) cannot be understood merely as a folkloric Mexican cult figure, but should instead be analyzed as a syncretic death tradition in which pre-Columbian cosmology, colonial repression, folk magic, and modern anti-Christian counterculture are interwoven. From a history-of-religions perspective, she represents not only death as a biological phenomenon, but death as a liminal principle — a boundary force between order and chaos, between social exclusion and existential autonomy. Within a chaos-gnostic and anti-Christian interpretation, Santa Muerte thus emerges as a counter-image to Christian salvation ideology: not a savior demanding submission, guilt, and moral purification, but an impartial and amoral power operating beyond the Church’s dualistic categories of good and evil. Her deepest historical roots are found in pre-Columbian Mexican death cults, where death was not perceived...

Zeroth Qayin – The Primordial Principle of the Black Flame and C.A.O.S . A Chronicle by Tommy Eriksson There are times when a single expression fundamentally changes the way one reads an entire tradition. For me, the name Zeroth Qayin became such an expression. The first time I encountered the term in Liber Falxifer, I regarded it as little more than a variation of the biblical Cain—a darker, more esoteric figure whose purpose was to embody the symbolism of the Falxiferian tradition. Yet after several careful rereadings, that interpretation began to feel overly simplistic. The text seemed to point toward something that preceded the biblical narrative rather than merely expanding upon it. Cain gradually ceased to appear as history's first murderer and instead emerged as an echo of a far older principle. When I later compared this with Liber Sitra Achra, the impression became even stronger. Although the two works employ different symbolic languages and move within partly different me...