How do you define wealth?

One of the questions I'm asking and answering as I start work on the wealth magic book is how I define wealth. Do I define it as money? The answer is yes and no. I think money is an essential characteristic of wealth, but doesn't solely represent wealth. Actually I'd argue that money can represent wealth, but it can also represent poverty and a whole host of other meanings. Money as a symbol is...quite diverse in meaning.

Wealth, on the other hand, isn't necessarily so diverse, but certainly it can be illusive. What is wealth? What does it really mean to be wealthy? The definition of wealth is something that seems to tease people. And what one person defines as wealth another person disagrees with...not that it really matters. The real question is: Can I embody my definition of wealth in a way that is maintainable?

Speaking from experience, its taken me a while to embody wealth in my life, and maintain it. I'm still learning how to do it, although I seem to be getting better at it each day. Persistence is another ingredient of wealth. You have to be persistent and focused on it, in order to attain it. That's actually true of anything you want in life. If you really want it, you'll find a way (maybe even an A).

Magic is one means toward that end, and when you combine multiple means (like creating multiple income streams) it makes it much easier to achieve the desired result. My own quest toward wealth has focused on using multiple means to that end, and its a continual project, one I enjoy thoroughly. If you don't enjoy it, I advise not seeking it.

My definition of wealth is simple. I love to live by my own rules. Life on my terms is wealth. This isn't to say I'm in control of everything, but rather that I am doing what I love to do, at my leisure, and maintaining and improving it, while also being able to enjoy everything that brings pleasure to me, and allows me to continue to work on the projects I value most. That's my definition of wealth.

What's yours?

A Vision of Tomorrow

Each year I do a cut-up collage, which essentially serves as a magical enchantment for the next year. This particular magical working is inspired by William S. Burroughs, and I always make a point to listen to Burroughs when doing this working. This year's collage was dedicated to Bune as both an evocation of him for Wealth Magic purposes and also as a way of praising and raising attention about him.

At the same time this collage and the other one are magical workings for my businesses, or vision boards if you like. I'm in the process of rebranding for my main business, as well as working on the social media presence for Immanion Press, and I'm even doing some refining of magical experiments. It's a lot of work, but its also a lot of fun.

How this works is twofold. Your scissors is the tool of cutting. You cut any previosu meanings away when you cut the words and images out. Then when you put the collage together, you glue your meanings into the words and images, imprinting them with your desires. The glue is the imprint of meaning on the blank void of paper, bringing meaning with image and word to create an enchantment (or evocation) of the desired reality. You can fire the enchantment off a variety of ways, whether its via sex magic, or using your creativity as the firing mechanism, or showing it in a public space, with people sharing it as the firing mechanism.

The requisite new year post

It's 2012. When you look back on 2011, you might be thinking of everything you accomplished or everything you didn't do. Maybe you're also thinking of new year resolutions or how you'll do what you didn't get to in 2012.

Stop. Just stop for a moment. Those are all such automatic thoughts, such cultural promptings that its worthwhile to consider a different tact and step out of the automatic grind that is New Years.

Every day of the year signals a new year that is starting, because one year ago that day started and ended. But we only think of the new year a couple times out of the year. We think of it in January and you might think of it also around your birthday or around Samhain, if that's your thing, but in general people don't consider that a year can end on any day, and begin on any other day. It's all arbitrary.

So 2012 is here. What has really changed from yesterday or the day before? Nothing but numbers. Nothing but an arbitrary measurement of what time it is. Take that new year fervor you feel, that burning passion that you will make changes and ask yourself: "How can I sustain this each day of the year, every year, so I actually make the changes I want to make?"

Each day provides you an opportunity to change, to make a difference in your life or someone else's. Sustaining the momentum is what the real challenge is. People start out with resolutions and then they are ground away. Nothing feels new, everything lacks a certain luster. Sound familiar?

If you want a new you...if you want to keep those resolutions, develop a long term sustainable plan that you can hold yourself to, and if possible get some help with accountability by partnering up with someone else who wants to make changes.

Successful long term magical work is based on a systematic approach to what you are working on. Thus, for example, I have my year long elemental balancing rituals, which serve to focus my internal work on specific themes that I can use to measure my change or lack thereof over the course of the year.

I'm developing an online correspondence course for people who want to learn my approach to magic. It seem to be quite the rage right now...actually I think its been that way for a while. What sustains my approach to this particular project is the idea that once its completed, it'll be very easy to add changes onto it, while providing anyone who takes it a chance to experiment with my approach to magic. But the only way such a program will work is if the people taking the class actually have a sustainable model for integrating what they are learning into their daily lives.

It's 2012. What will you do to develop a sustainable process that you can use to create effective change in your life and maintain that change?

Latest Radio Interview

Here's the archived version of the recent interview I did about my new book Magical Identity with Justin from Sothis Media. If you didn't get to listen to interview, or just want to listen to it again, click this link!

Book Review Self Comes to Mind by Antonio Damasio

This is an interesting book that presents what I'd consider to be an ontological perspective on neuroscience, identity, and consciousness. The author presents some intriguing ideas about the intersection of these concepts, particularly where consciousness originates from. I'd highly recommend this book as one that will get you to think about your brain and body in a new way, as well as provide new perspectives on what self is and where consciousness fits into it all.

Social Media Magic

I'm debating right now what my next book will be about, but I've already got some good ideas percolating. No it won't be social media magic...though that could be the name of a chapter.

Anyway, I've been playing around with my Facebook Timeline, adding some events to points in the past, mainly where I moved to and where I've lived. I wish they would let you create future events on your timeline, but it doesn't look like they do. However the possibilities of using an FB timeline for a bit of retroactive magic does excite me, especially when you can add pictures and videos to a specific date in time. You can graphically rewrite your timeline and make it into a very creative experience.

For example I've added several fiction events to my timeline. I've done it for the sheer humor of it, but there's nothing to say that you couldn't go in and rewrite portions of your life with modified details, and use that as a kind of narrative that also retroactively rewrites your life. And if you can get people into participating with you via tagging, you can even come up with some clever meta events.

It's really about having fun, but also getting creative with your life. Changing what happened on the timeline might open up some possibilities for you, or if nothing else give you closure on events in your life. It's something I'll keep playing with, as much for whimsy as for any magical purpose. The time line is a graphic and textual narrative of your life. It can represent where you've been, who you've met, what you've done...and it can part fact and part fiction. FB probably wants it to be all fact, but why make it all fact?

What about you? How would you experiment with the Facebook timeline?

Self-Evocation 2011

Here's my latest painting. It's a self-Evocation painting. I do these occasionally and I use them to paint an internal landscape of my consciousness. This one is actually quite nice and feels much more peaceful compared to some of the other ones.

A self-evocation is really a snapshot of time, a way to connect with a particular moment of my life. I've used the paintings occasionally to interact with younger versions of myself. In a sense the paintings act as a temporal powerspot. It's not the only method I use for accessing past versions of myself, but it is a useful method to use, and one that provides something to focus on to help you reach that past point of existence.

Archetypal actions

I've been watching Nikita lately, which is the newest rendition of La Femme Nikita. In one of the episodes, the actress playing Nikita does the famous action of diving into the laundry chute to avoid being incinerated by the missile. You know the action I'm talking about. It's the action that occurred in both movies and likely occurred in the other La Femme Nikita series as well. It's what I call an archetypal action, an action that defines and embodies the archetype or character. It makes you think of all the iterations of that character. It brings that character to life for you.

If you're an actor, or a magician doing that action can also make for an effective invocation, though I'd recommend against diving down chutes to avoid being incinerated. My point being however that if you look at pop culture and mythology in general you will likely find specific actions or activities that a given character, god, etc did and those actions are part of the archetypal consciousness of that being. You may even find that there are actions that repeat across different cultures, with the result being that the action taps into something deeper than the faces that happen to display the action. You tap into the essence of the archetype, something faceless, that nonetheless represents what it is you want access to. An archetype isn't just the face, after all...it's the actions that embody the concept.

Part of my work with identity has involved using space and movement to shift identity. Archetypal actions can be a part of that work, particularly when you want to invoke a spirit by embodying it. Actions allow the spirit to take over, to possess and become part of your experience even as you enter into its experience. I've done such actions in my work with Elephant and Dragon for example, but also with various characters I've worked with. By mimicking the movements and actions, a person invites a different body awareness, and can use that awareness to call to the entity of choice that s/he wants to work with.

A Yule Ritual

The other night, for our Magical Experiments meeting, we decided to do a Yule Feast and Ritual. The Feast was Roast Beef, Mashed Potatoes, carrots, beans, garlic bread and spiced wine and cider. It was an excellent way to celebrate the solstice, with good friends. But it was also a magical act, in and of itself, celebrating each other's fortune and also promoting that prosperity for the next year. The ritual was a simple, but focused working. We were first given papyrus reed and a pen. On the paper we wrote down or drew a symbol of something we wanted to get rid or banish from our lives. We had the option of telling others what we were getting rid of and then we lit it on fire and focused our intention on banishing it from our lives.

Afterwards we were each given a candle and on the candle we wrote or carved a symbol that represented what we wanted to bring into the new year. We burned the candles for a bit, but then snuffed them. I have mine on my desk and I will light it again on the first of the year.

Tonight we're buying the ashes, so that what was banished is recycled to the Earth.

Fear and Magic

I read a post where the writer argued that if you weren't feeling fear in your magical practice, you either aren't human, or you are trying hard to stay in your safety zone. I get the point of this post, and to some degree I agree with it. Feeling some fear as you break your boundaries and challenge your identity is a good thing. It means you're doing the hard work. Challenging yourself to move forward when you feel fear is a necessary part of life in general. When I practice magic though, I don't feel fear. I feel empowerment. I feel excited, alive, vibrant. Magic is life, magic is power, magic is turning the impossible into reality. When I feel fear, I feel it in the moments when I do internal work, and I face within myself those weaknesses and issues and hurts and pains. That's when I feel fear. That's why I do my internal work...to reach a place of understanding and resolution with those fears so that when I practice my magical work, there is resolve and knowing that what I do aligns to my identity.

We all approach magical work differently. When I work with the elementals and spirits I approach them as friends, as companions. Other people do not. I think how you approach such beings sets the tone for the type of interaction you'll have with them. Thus to approach them as friends, to approach them with confidence is my own way of knowing them. It works because it's something I feel confident in. It works because I know my place in relationship to their own.

Fear is a funny emotion. It can paralyze a person, motivate a person...it can block and push. I find that knowing where to encounter fear changes your magical practice. Encountering it in my internal work and making it an active part of that work has changed the external work and the need to do the external work, and changed my life...its much quieter now than it was before.

A new Year, A new you

I saw this blog entry on Twitter and was intrigued by what the person had to say  about reinventing herself. It reminds me a bit of the elemental balancing ritual I do each year. I'm in the 2nd month of my new year, and in a sense the new person I'm discovering as I work with the element of fire. But it also made me think about the fact that I'm in the process of reinventing two of my businesses. I'm reinventing Magical Experiments, slowly but surely, both in terms of offering correspondence courses (I'm working on the magical process course currently) and in terms of branding. But with Imagine Your Reality, I'm reinventing the entire business. I've just gotten the social media piece nailed down, and I'm finally turning toward the business coaching part and redoing my entire business plan. It's a reinvention of identity, both for myself, but also for people I want to market my services too.  It's an ongoing challenge, because I'm not just writing a new business plan, I'm also doing a fair amount of internal work. For example at our class, we were challenged to rewrite our internal stories into more positive ones. What does it have to do with business? Quite a lot actually, because the internal reality you believe is the reality that manifests in your life.

Each year, the elemental balancing ritual is part of my reinvention. The thematic approach provides enough structure to make consistent changes, while providing enough freedom to allow yourself to experience the lessons needed to make those changes happen. A necessary part of that process involves keeping a journal of sorts, which is why I blog on this journal about the experiences each month. The only exception has been a two year gap, wherein I focused on Magical Identity. You won't necessarily find such personal entries in it, but it nonetheless encapsulates the experiences of two years of reinvention.

Change is a constant. Embracing change within your magical practice is how you take control of the change you experience and make it part of your identity.

Tarot Readings and spontaneous spreads

 

I was doing dual deck tarot readings at the local yule fair last week and what stood out to me was how people would create their own spreads, which didn't necessarily look like anything I'd create, but nonetheless made perfect sense for those people. What I liked about that realization is that it proves that fixed spreads are not a necessary part of Tarot reading. In fact, I'd argue that the spontaneous creation of new spreads made the reading more effective because the layout of the cards demonstrated the mental "space" of the person, and how the different cards were situated in that space.

Space, mental and physical, is part of how a person defines his/her identity. The manipulation of space via placement of objects is part of that identification process and it can tell a lot about what obstacles a person is encountered. A spread that is chaotic with elements all over the place still has an order to it, even if its an order that only the person who created the spread understands. A reading I recently did initially looked very chaotic. It took asking some questions to really get to the central issue, but once those questions were asked the spread made complete sense and fit the issue rather well.

What makes this approach dynamic however is that if you use a tarot reading as an act of enchantment, you can make the person's ability to change the spread, to reorganize it an essential part of the reading. In other words, the person changes the spatial identity s/he inhabits by changing how the cards are spatially organized, as well as how s/he understands the underlying message of the card. The result is a different reading, one that plots how the person will make changes to the existing pattern in order to resolve whatever issues are represented.

Here's a podcast episode where I talk about some of my initial experiments with Tarot.

Change starts from within

"Everyone thinks of changing the world, but no one thinks of changing themselves" Leo Tolstoy When I think about Western Magic, and one of my problems, this statement from Tolstoy sums it up nicely. In late teens and early to mid twenties, I remember being that person who wanted to change the world, but didn't think of changing himself. That's not surprising because within western magic there is no overt forms of internal work provided, beyond perhaps some pathworking exercises. I had to go to Eastern systems such as Taoism to really discover in-depth meditation techniques. Since learning those techniques and implementing them into my daily practice, I've found that there is much less of an overt need to change the world. In fact, usually where the change needs to start is from within.

Magical techniques such as sigils or evocation aren't focused on internal work. There's nothing wrong with that, but it is worth the magician's time to actually apply some degree of introspection in order to look at the underlying motivations behind doing the work. Such internal work can help clarify the motivations and even ensure that the working will be successful by removing any internal resistance toward it.

Internal work is an essential part of magical practice. When I take magical students on, we spend a fair amount of time initially exploring what their values and beliefs are, how they define themselves and their place in the world, as well as teaching them meditation techniques. I've found that this initial work is crucial because it helps them remove a lot of internal obstacles and most importantly helps them understand how to effectively use magic to make changes in the world around them. Practitioners who actively use internal work will also cut down on the need to do more overt acts of magic...and not surprisingly will also lower the overall level of drama and chaos as they work out their issues. Instead of having such issues come up in their lives, the practitioners are able to identify  the triggers and make changes to their behaviors. The result is a better life and more clarity about what they want and need to live such a life.

Changing your Identity by Shifting your Balance

Every year I do an elemental balancing ritual. The purpose of this ritual is to create balance in my life by working on aspects of myself that need to be balanced. Really what I'm doing it changing my overall identity by shifting the balance using an intensive working to generate a specific direction for my internal work. I think its worked well to help me make conscious changes to who I am in a positive manner. Internal work isn't something that can be done in one moment. It takes dedication and focus. I figure that by shifting my balance using elemental energy each year, I can actually put dedicated time into internal work that focuses on particular themes I need to work on. I put a year's time into each elemental theme and a years work does provide enough time to make substantive changes to a person's identity. It's not easy work, but it is work that makes your life easier.

Shifting your identity, your state of being, if you will, necessarily changes the relationships that you are in. I've had friendships fall away, a marriage end, and and started new relationships in large part because of the elemental balance work I've done. Shifting your identity also shifts the connections you have with people. You have to decide if that is worth it. I think it is worth it, because even though some relationships have changed, what has changed even more, on a fundamental level is my relationship with myself and how I live in the world. And I find the changes to be satisfying. I like who I am as a result of doing the work.

I've always said that you can't please everyone and I mention that because when you engage in internal work you necessarily have to accept that the changes you make won't please everyone. That's part of the price of doing internal work. You confront who you are, you make changes to your identity and those changes manifest in how you interact with the world.

Changing your balance changes your place in the universe and your awareness of that place. You start asking hard questions of yourself and others and you look at what you can change and you make those changes because you want to shift your balance, want to shift to a new place. That's what internal work does. It spurs you on, pushes you to make changes, demands the best from you, refines you alchemically, and when you do all of that the result is a changed person, someone different from before. And everything that doesn't fit, falls away.

Book Review: On Desire (Affiliate Link) by William Irvine

On Desire is a fascinating book that looks at how we interact with desire. The author comes off as a little prudish, advocating more of an approach of ignoring desires, but even with that tone, the book provides a look at what desire is, what the neurological basis of it is, as well as how different cultures and communities deal with desire. I would have liked to have seen exercises in this book from the author. It is more of a philosophical treatise than anything else, but still worth a read.

Elemental Fire Month 1

10-22-2011 I've been staying very mindful of the element of fire in my life. I attended a divination party tonight, where you could offer readings or get readings. I did five readings for different people and told them about the magical experimenters meeting. And while doing their readings, while talking with them, I had a sense of seeking, a sense of fire as seeking, discovering, but also a sense of fire as a qualifier. Intuitively I knew that the people that needed the invitation would follow up on it because it was the right invitation for them and they'd fit the group as well. 10-25-2011 The last few days has involved a dialogue between Dragon and myself about Fire, passion, and consumption. What stands out most is the focus on fire as a metaphor for passion and why that's not such a good thing. Dragon points out that fire ultimately consumes, and if passion is fire, than its more about consumption than anything else. If fire is a metaphor for passion, there can be danger in that metaphor, in terms of how people approach passion. And I think he's right. My experiences with passion, in part, has been more about trying to experience a sensation that I might think of as fire, but in the process I've gotten burned a lot, because it's not something which is sustainable. Dragon pointed out that fires eventually consume themselves, until there's nothing left to give...Some interesting thoughts come to mind about American Culture and its focus on consumption. What does that teach us, about ourselves, others etc? Is it all something to be consumed, or can we really experience it?

10-31-2011 Fire just is. The association of doing and activity is meaning attributed to fire, but dragon asked me what it would be like to just contemplate fire as it is, instead of contemplating fire as doing something.

11-07-11 Dragon brought up something that really grabbed my attention. He said what a person fixates on or desires or obsesses over can burn him/her and the people in his/her life, because f how it consumes them. But if a person can consume and let go of what s/he desires, then it no longer takes up his/her energy in quite the same way. Now this is nothing new...you find this advice in meditation, but looking at it from the perspective of fire, and consuming something so it turns to smoke and then is wafted away...that's what grabbed my attention. And I have to admit that I'm in this process of consuming instead of being consumed. Not an easy process, but it is freeing up a lot of energy.

11-16-11 I haven't been as good about updating this entry as I'd like, but a lot's happened. Kat and I noticed that the stray black cat that lives near our house had kittens. It's getting really cold out, and this summer we'd actually found a dead kitten. It was pretty upsetting. So we decided to catch the mama cat (to neuter it) and catch the kittens as well. We managed to catch two of the kittens. The other one is gone, may be dead or alive, and the mama cat hasn't shown up lately. I took the trap back today, but I'll deploy it if she comes back. What does all this have to do with fire?

Dragon brought up a very important point. When you create a spark, you are responsible for nurturing it and using it wisely. When I think about the mama cat, I remember that my ex-wife chose to feed her. I don't know if it would've stuck around anyway, but I do know that feeding it encouraged it to stay in the neighborhood. I realized that I should've tried to catch that mama cat much earlier than now. More importantly, in catching these two kittens I felt that I had chosen to take on the responsibility of doing something with them. The animal control shelter told me if they weren't tame enough, they'd be euthanized, and that they might be euthanized anyway because of how many cats they have. There's no way I'd let two cats be euthanized simply because they'd been caught. I've learned about another place, the Cat Adoption Team, where they don't euthanize cats, but we have had these kittens for a week and we've all gotten attached to them. They seem to feel the same. And the point here is this: You always have a responsibility to see through what you take on. I've taken on those two kittens. They're part of my responsibility, that spark of life I've nurtured by capturing them and taming them.

11-18-2011 Sometimes I wonder if I've left my passion for all things occult somewhere else. Actually I sometimes wonder if I've left my passion for lots of things somewhere else. And I guess that's a reason I'm doing this work with the element of fire. I want to get in touch with that passion, and yet ironically I think I am in touch with that passion...it's just a slow process of rekindling it. I let it get banked by personal circumstances, by my choices to try and make myself into something I wasn't. Never again. Never again will I give my fire, my passion, my intensity away or push it down. That kind of give away can hurt you so much and it hurts your creativity as much as it hurts in other ways. I feel like my creativity is finally coming back because my passion has a safe place to be.

11-21-11 There is nothing worse than feeling that you failed yourself or someone else. And yet failure prompts growth and change. It forces you to reassess what's truly important and then claim that importance through the actions you take to bring change to your life. The ashes of defeat are also the loam that prompts growth. What you hold dearest can fall away in a moment and yet when it falls away it reveals who you are through how you respond. Do you rail against it? Do you accept it and learn from it? Do you burn yourself or do you warm yourself? It's a fine balance to walk. I choose to cultivate a warm fire instead of a vengeful fire. Where that takes me as a result is hopefully to a better place in my healing as well as in my passion.

How to learn process and apply it to magic

I talk about the process of magic a lot on here, but a question that might arise is: What exactly is process and how do I learn it? Or more specifically, How do I turn magic into a process? I learned about process from two different disciplines: Academia and Technical Writing. Both disciplines are process oriented, albeit in different ways. In academia, the process is research oriented. If you have an angle you want to explore, you need to do a lot of research and find corresponding evidence that supports your claim, and protects it from potential attacks by other people. This approach to process is more theory oriented than anything else, but it taught me a lot about how to construct an argument, and develop a defense for that argument. It also taught me to appreciate research and the need to ground any work you do in what others have already laid out. To this day, my approach to magic is always based in ongoing research into various subjects that are relevant to the experiments I'm working on. At the same time, academia also taught me the dangers of being too focused on theory. Within the particular disciplines I studied there was very little application, which caused me to question what, if anything, was really being done with the research academics were conducting. I recognized that while research is a necessary and integral part of a process, it must be balanced by something else.

Technical writing was the other discipline that taught me about process. It likely helped that my first tech writing job was at Boeing, where one of the phrases is: "Process is king" In that position, I learned that good technical writing had to address the right audience, while providing step by step practical explanations of how to use a given technology. Research also still played a role, but the practical application was the most important part. If you couldn't apply it, it didn't matter. That made sense to me and I realized it was the missing piece that academia didn't have. If you can't apply it, it doesn't matter. Or in occult terms, if you can't apply it, you're just an armchair magician.

That's how I learned process, but I doubt most people really want to follow my exact footsteps. But the two lessons you can take from those steps are: Anything you do must be grounded in research in order to show others where its come from and If you can't practically apply what you are working on to improving your life, it doesn't matter.

So figure out what you need to research and determine if you can apply it to your life. But there's another lesson I learned from technical writing as well, that can help you develop a process. Everything you do can be broken down into steps.

Once you break something into steps you have a rudimentary process. Apply lessons one and two as well and you have a full fledged process. And lets not forget you also need to measure results. If you have a process, you have a result and you need to measure that result to determine if your process works. A process is only effective if you can consistently achieve the result you've designed the process for.

What makes effective experimentation in magic

When I think about effective experimentation in magic, I think that its essential to have a group of people who are willing to test your experiment. These people don't even need to know each other, but they need to be people who are willing  to give your experiment a try and provide honest feedback. Anyone can come up with an idea, and an idea can even be developed into a process that the person extensively works on and fine tunes. But until that person has shared the the process with other people, so that they can test it, its fair to say it's not an effective experiment. Effective experimentation calls for feedback and input from other people that aren't familiar with the technique and are willing to test it with the appropriate balance of skepticism and open mindedness that is needed for effective experimentation. As an example, when I experimented with a technique to contact neurotransmitters, I knew that to truly test its effectiveness, I needed to find other people who could verify if the technique worked. I ended up having a variety of people experiment with the technique. Some were from the U.K. and some were from the states, so they didn't all know each other. The consistent results that they achieved was what verified the technique and made an effective experiment.

You also need to be able to explain how your process works, so that other people can duplicate it. If a reader just gets lots of vague theories about how it works, but there isn't any practical instructions then what you have is more of an armchair approach to magic. Sounds great in theory, but can I implement it?

Perhaps what is most vital to effective experimentation is curiosity. You have to be curious and open to exploring what's around you. My curiosity is what has motivated my exploration of magic. I've always wanted to know what the real limits of magic are, as well as what my limits are. So if I can test something out, I will, in order to see what I can do, but then I'll bring it to other people and ask them to test it, to see what they can do. Naturally the people I look for are curious as well.

Effective experimentation is about developing a consistent process that can be done again and again and again, with the achievement of consistent results. Its as simple as that, and yet that simplicity demands careful attention to detail, to ensure your process does work.

Art and Magic

I posted an updated on different social networks asking people how they got creative with their magical work. I got a couple of interesting responses including one about a coven that uses arts and crafts in their rituals and it got me to thinking about my own artistic approach to magic. I've always been in favor of taking a creative approach to magic and while some of that creativity has focused on blending pop culture into magic or applying principles from other disciplines to magical work, its also focused on using art in the magical work as well. One of my favorite mediums to work in is body paint. The body becomes a canvas, which is painted with body paints that can be used to express and explore the magical work in context to the body.

Collage is another medium I've always enjoyed. Cutting away the meaning from text and picture and then reassembling it into my own image has always appealed, because it gives a person an opportunity to create something that runs counter to the messages that were previously imbedded in the media.

Painting with water color is another medium I've liked using. I tend toward abstract paintings, and there's something fun about letting go of any shape and just painting, but I think you can have a specific concept in mind and still make it magical.

Singing, whistling, and lately playing with my harmonica has been another creative activity I've applied to my magical work. I'm doing some experimentation with Tuvan throat singing as well. I think exploring what your voice can do or what a musical instrument can do in terms of magical work can be a lot of fun. Certainly listening to some of the musicians I enjoy has taken me to some novel spaces with their intentional blending of magic and music.

Wood work is something I haven't done recently, but I used to do it a lot and actually created a couple of altars. It's something I'd enjoy doing again, with the proper tools and facilities.

I think applying creativity to your magical work can be a lot of fun. It's a great way to get flexible about your magical work, and challenge yourself to come up with something that's customized to you. If you haven't applied your creativity to your magical work, give it a try and have some fun!

Call for Papers for Disabled Paganism Anthology

E-mail for inquiries and submissions:  tara.miller21 (at) gmail.com; please put “Immanion Press Anthology Submission” in your subject line. Megalithica Books, an imprint of Immanion Press (Stafford, U.K./Portland, OR, U.S.A.) is seeking submissions for a magic anthology from the perspective of practitioners with disabilities or developmental differences. This includes but is not limited to practitioners with mental, cognitive, emotional, physical or sensory impairments and/or practitioners who are part of the Deaf or Blind community.  We have not come up with a title for the anthology yet. That will hopefully present itself through the contributions.

There is much debate about how the words “disabled” and “disabilities”. For the purpose of this publication; however, we'll use the World Health Organization's definition: “Disabilities is an umbrella term, covering impairments, activity limitations, and participation restrictions. An impairment is a problem in body function or structure; an activity limitation is a difficulty encountered by an individual in executing a task or action; while a participation restriction is a problem experienced by an individual in involvement in life situations.”

This anthology is intended to explore magical, occult, and esoteric topics from the view points of practitioners who are disabled or part of the Deaf and Blind community. Equality and access within the magic/Pagan community and society in general are important issues. You can include them as a part of your submission but not the whole. Keep in mind that addressing such topics aren't the sole purpose of this anthology. When thinking about your submission consider what rituals and practices are or have been most beneficial to you. What mystical or magical experiences or knowledge shaped your life for the better? Contributers can be from any magical background or tradition. With all Megalithica publications, the intention with this anthology is to go beyond introductory matters whenever possible.

We are accepting:

essays (academic and personal)

short rituals, prayers, meditations, activities, or spells (not lists of correspondences)

We are especially interested in rituals that take into account limited mobility or immobility, sight impairments, and rituals for the Deaf and blind. Also, some practitioners with disabilities have limited attention spans and would benefit from shorter rituals that include minimal visualization.

Some suggested topics:

Practicing magic in hospitals or other facilities. How can you improvise while complying with facility regulations?

Is the state of the body and mind a reflection of a persons purity or power? Is it a sign of the practitioner working out past wrongs?

Psychological or physical emergencies as shamanic or magical breakthroughs.

Do we choose our bodies and experiences? Do the Gods/Goddesses or Divinity create our bodies or experiences this way for a reason?

Medical symbols and their Pagan history and magical properties. How to enchant and use these symbols.

Gods and Goddesses of Health- such as Asclepius and his daughters. For example: Hygieia whose name is the source of the word hygiene. There is a lot of Pagan history in the medical community.

How to discern spirits, entities and magical experiences when you are dealing with health issues that can impair judgment such as being on pain medication, dealing with mental illness, etc.

How a disability or impairment offers a new perspective on magic practice and theory.

How communing with nature has it's rewards (i.e. ecopsychology or closeness to a specific God(dess) etc.) and challenges (i.e.  mobility issues)

Working magic with companion and/or guide animals or stories about their spiritual significance.

What are some ways to find self-acceptance and empowerment?

Viewing scars from surgery, injury or otherwise as part of your story or “battle scars” or proof of survival.

From the first diagnosis of disease or disability to the loss of a physical function or independence, we feel grief. How can we cope with grief?

Ways to mend the fragmented self i.e. lucid dreaming, soul retrieval, astral travel.

Working with archetypes or mythic images.

These suggestions barely touch the myriad of possibilities. We're interested in any other topics contributors wish to explore. It's your voices that will make this anthology powerful and possible.

Requirements for submission:

Citations for all quoted, paraphrased, or otherwise unoriginal material

Bibliography for works cited

Use the Modern Language Association (MLA) Style http://www.library.cornell.edu/resrch/citmanage/mla

Send the file in Word or RTF format

Do write in your voice! If you’re academically inclined or trained, feel free to be as intelligent and technical as you like. If your work entirely speaks in the first person about your own experience, that is also permissible, but please use a more formal writing style for as much as possible in your piece that is not quoted speech. Unless you do so sparingly, or define your terms (either in the main text or footnotes), DO NOT use lolcat-speak, text message speak, or anything else that could be considered para-English. Our lives are full of abbreviations and “lingo” which we understand but others may not, even people with different disabilities. Please define any “lingo” you use such as Talk Doc (psychotherapist) or P Doc (psychologist) or medical abbreviations.

Rough drafts are due March 01, 2012. These drafts will be edited in a back-and-forth process with the editor. Essays need to be 1500-4000 words, although if your work falls outside those limits, do submit it – we can discuss this during the editing process. Do drop me an email if you are unsure whether your idea fits into the content. We hope to include many voices and the sooner you start the communication process the better.

If your essay is not accepted for the anthology, we will tell you after the first round of edits. All contributors will be provided with a contract upon final acceptance of their essays, not when they are accepted for editing. Compensation will be a free print copy or an e-book of the anthology when it is published and additional copies sold at 40% off the cover price to contributers.

The anthology will be edited by Tara “Masery” Miller. Her blog, the Staff of Asclepius, is featured in the Pagan Portal at Patheos.com. It's for Pagans with mental, physical or sensory impairments; who are in recovery from major injuries or addiction; and/or who are members of the Deaf or Blind community. “It’s a place to share how a spiritual and magical life gives us strength or peace through all of life’s joys and struggles. There are also news updates and interviews with Pagans and experts on various topics affecting the community.”  http://www.patheos.com/community/paganswithdisabilities/  She has Turner Mosaic which created a massive failure of her endocrine system causing many health problems.

Immanion Press is a small independent press based in the United Kingdom. Founded by author Storm Constantine in 2003, it expanded into occult nonfiction in 2004 with the publication of Taylor Ellwood’s Pop Culture Magick. Today, Immanion’s nonfiction line, under the Megalithica Books imprint, has a growing reputation for edgy, experimental texts on primarily intermediate and advanced pagan and occult topics. Find out more at http://www.immanion-press.com.

image and reality

I always find it fascinating to study people considered famous within a given subculture. I wonder what makes them famous, what makes people want to follow after them, what is the glamour that draws them so? And yet I know what it is. It's an ability to create an image that glosses over the reality. That probably sounds cynical, but there's an element of truth to it as well. Do we really know anything about that actor, singer, or author, beyond what the tabloids gossip about or the marketing facade that is built by the person?There's a false kind of intimacy that is created with marketing. We look at pictures of this person, look at how the person portrays this rosy kind of image that is merely a gilded picture, and yet is so captivating because the person has spun a glamour that doesn't even hint at the realities underlying the gilded picture.

I've never really bought into the glamour. Maybe it's because I'm an occult author. Maybe it's because I've actually made it a point to talk with people as myself, instead of trying to trade off on the fact that I've written books. I remember one time a person said to me that he was amazed I'd spend time talking with him, because I was an author. I told him that writing was something I did, but that it didn't define my reality or how I would treat him. That's always been my approach. I don't want people to fall in love with an image, or buy into some presentation. If you want to get to know me, then get to know me for who I am, warts and all.

At the same time, from a magical perspective, there's a lot to be learned from such glamour tactics. Knowing how to present only what you want people to see can be quite useful in job interviews, as well as in other situations that call for a different appearance beyond what is usually present. Of course you run the risk that if people see through it or discover that you weren't authentic, they may feel deceived or betrayed.

There is something to be said for being humble enough to be honest. And there is a strength in that reality, magically and mundanely that goes beyond any glamour that is put together. It's when we can take the mask off, step outside of the illusion that we then discover the reality behind the image.

A broad approach to love magic

I think its best to take a broad approach to love magic. What I mean is, its better to do love magic that isn't focused on getting a specific person, but instead is focused on drawing the right people to your life. And its important to remember that any love magic also needs to focus on self-love. Looking to someone else to fill something in for you won't work. If anything the person you bring into your life into emphasizes the issues you need to work on. That person has their own issues and you will embody those issues, even as that person embodies your issues. Thus the person you bring into your life necessarily will be someone who challenges you in some ways as much as s/he also brings joy and happiness. People have this idea about love, prompted by the concept of falling in love, that its always something wonderful, but while falling in love is a wonderful experience, being in love is necessarily an experience where you truly face your own issues as well as the issues of the other person. The challenge is how you face those issues and evolve past them so that you can truly be with someone, and also so you can truly be with yourself. People go into a relationship hoping their partner will somehow fill in the gaps, somehow solve everything. Little do they realize that your partner isn't a cure-all and if anything s/he will exacerbate the issues because s/he is a mirror that shows you both the wonderful qualities and unpleasant aspects of yourself. Of course you do the same for that person.

Kat and I have, since February, been reading books on relationships and love together. These are typically the books people will turn to when their relationship is in trouble and they are grasping for anything that will save the relationship. I got these books when I was in my previous marriage for that very reason. This time we took a different approach. We decided that we wanted to read these books and talk about the issues that came up as a proactive activity, as something we'd do in order to build a dialogue around love, and allow us to learn more about each other and where we were respectively coming from. And thus far the journey has been very illuminating for both of us. The discussions that have arisen out of what we've read have helped us both look at our respective issues and understand how they contribute to the relationship, as well as what we can do to change those issues.

What I've learned about love magic is that it rarely brings what you think you want, but it always brings what you need. The question is: Are you prepared to accept what you need? For me that preparation has involved doing a lot of internal work, owning my baggage (and letting it go), as well as coming face to face with my desires and understanding where they fit into the entire mix. And I'm still doing this work! It's nothing something where you just get finished, but I can say that taking a proactive approach can make for a much smoother relationship, with both yourself and your partner.

Here's a few books I'd suggest complete with affiliate links

The Passionate Marriage

Undefended Love

Journey of the Heart

Perfect Love, Imperfect Relationships

Love and Awakening

Book Review: Brain Magick (Affiliate Link) by Phil Farber

In Brain Magick, Phil Farber presents a thorough approach to invocation that is a combination of neuroscience and NLP, and is by far one of the best cutting edge books on magic that's available. The author includes lots of exercises the reader can do to test his concepts, and at the same time makes all of his explanations easy to follow. Farber shows you how to bring some woohoo into your life!

System or process, its still the same issue

  It seems like I've gotten into quite a discourse. In his latest post, Mike argues that magicians don't experiment because most of them ignore 2/3rds of how magic work. He also argues that in my last post, I only argued that people don't experiment because they perceive it as not fun. Actually, I spent the majority of the post discussing at some length that they don't experiment because they don't understand a process oriented approach to magic and they are encouraged to not approach magic from a process oriented perspective. I think that what Mike means by system is what I mean when I discuss process...kind of, because this what he says:

1. Your conscious mind uses some form of symbolism (either traditional or personal) to signal your goal to your unconscious mental muscles.
2. Your mental muscles act on this goal, usually by sending instructions to an external force (a “system”).
3. The system shifts probabilities, produces energy, or does whatever else to make the magick happen.

I take a different approach, which goes like this:

Step 1: Define your result. What it is you want to accomplish and what will the consequences be? Many magicians focus only on what they want to accomplish, and don't consider the consequences of achieving said result. Defining the result is a necessary step, as we need to know what we want, before we can even do the magical work.

Step 2 is Define the actions (both mundane and magical) you will take to achieve this result. I include mundane actions because they are an integral part of what makes magic work. What you are on the mundane level contributes to the overall process of magic, and must be factored in order to understand your process. Magical actions refers to the actual magical act you will do. A magical act could be an invocation, evocation, enchantment etc. When you define the magical act, you need to define all of the contributing factors, which includes tools used, spiritual entities worked with, symbols, etc. You do this, so that you can you understand how they all fit into your process, and into the magical action. Most important note: Everything this step is really a way for you to communicate with your identity and the external systems its connected to (see step 3)

Step 3: Define your beliefs and values and how they contribute to the achievement of the defined result. This where you do the internal work. Before you even begin your act of magic, you need to determine if your values and beliefs and values align with the desired result. Note that I'm not just talking about examining beliefs and values on the level of consciousness or even unconsciousness. That's a good place to start, but you need to dig in further and explore this from an ontological perspective, aka identity. Is your identity in alignment with the result? Your identity, which is really your connection to the systems or external forces is where the magic begins and ends. Beliefs and values are just the tip of the iceberg with identity, which is why you need to do a lot of internal work. In my forthcoming book Magical Identity (due out in January 2012), I discuss at some length why magicians need to incorporate identity into their magical process, and why the psychological model of consciousness and unconsciousness is out of date.I'd argue what makes magic work, and really what drives change in general is a person's ability to make changes to his/her ontological identity and its agreement with the universe.

Step 4: Do your process and observe both the process and result. If you don't get the result you want, its time to look at your process and determine where the problem is. Chances are its step 3, but don't rule steps 1 or 2 either.

That's what I mean by process and it looks like Mike and I are discussing the same thing, but using different words. Regardless of the words, its still the same issue: The reason experimentation doesn't occur is because of an inadequate understanding of the process of magic.