Call For Papers for Magic on The Edge 2.0

Magic on the Edge 2.0 is an anthology of experimental occultism, testing the cutting edges of magical practice to reveal intriguing experiments and new ideas, to push the future of magical practice forward and provide further inspiration for other practitioners. It is edited by Taylor Ellwood. We are looking for articles 3k to 6k words in length on topics that can include the following:

• Innovative explorations of magical traditions
• Experimental techniques with contemporary disciplines such as space/time magic, internal alchemy, laboratory alchemy, etc.,
• Creative meditation practices
• Got an idea? Run it by me and I'll give you feedback (see contact info below).

The deadline for the first draft is December 15th

For more information or questions contact me.

Please share this with anyone you know who might be interested in participating in this anthology.

My first experience of Magic

When I was 7 years old I had my first near death experience and what I'd consider to be my first genuine experience with magic. I was drowned by an older kid, held down underneath an intertube in the ocean. I was, fortunately, pulled out in time. That older kid was yelled at, but nothing else was done. But what I remember the most was a sensation of blacking out and finding myself in a space with an entity, which asked if I wanted to live. I remember that experience vividly to this day and it is after that experience that I began to show an interest in magic. I became a voracious reader, and while I enjoyed reading a lot history, I also read a lot of fantasy and found myself wanting to be the magician. I figured the magician was the coolest person to be, and I think I'm still right about that one. I wanted magic to be real and in the years between 7 and 16, I did look for it, but I wasn't really sure where to look or who to talk to. What I had access to were fantasy books, and while they were fun to read, they didn't encompass what magic was. I knew what they presented wasn't something that seemed possible. I mean as much as I liked the idea of being able to conjure a fireball, I didn't think it was really possible, and to this day I have yet to conjure one up or see anyone else do it. But still, I knew magic existed and was real. I knew it on a fundamental level. I knew it as something essential to who I am...

It wasn't until I was 16 that I found magic. I was reading one of my fantasy books and this one kid thought he'd freak me out by telling me about an experience where he astral projected and encountered a demon. Far from freaking me out, I wanted to know more. I felt tense excitement, thinking to myself that at last I'd found something more tangible than a fantasy book. I plied him with question after question and made him promise me that he'd bring me books to look at the next day.

The next day arrived and he gave me a couple of pamphlets on astral projection and Shamanism. I devoured them that night, trying out the exercises and experiencing something. Here at last was the magic I'd been looking for and if it didn't allow me to conjure a fireball, it did allow me to do something I'd been longing to do since I was 7. That kid became my friend and he showed me a shop where you could get more books. I remember buying a couple on Shamanism and hermetic magic. I read them religiously and did the exercises just as fervently, determined to master this strange new force in my life. Shortly after that I encountered my first "teacher." But that's a story for another blog entry.

Book Review: Magick Works (affiliate link) by Julian Vayne

Part memoir and part grimoire, this book is an excellent guide to how magic works. I like how the author weaves in personal narratives from his life to explore and explain how magic has worked for him. I think some of the best essays are on identity and space, but all of them are good and this is a valuable book to have because it makes you think about magic from a different perspective.

5 out of 5

Draining Possibilities

Typical approaches to space/time magic tend to focus on generating possibilities, or at least becoming aware of them. A different approach however can be found in the idea of draining or negating possibilities. In Space/Time Magic I explained that you could visualize multiple possibilities as balloons and then pop the ones you didn't want, while putting their energy into the possibility you did want. It's a useful technique and it works well, but I'm always looking for ways I can improve on what I and others do. Lately, I've been experimenting with draining possibilities away, until there's only one possibility left. The way this works is that you first determine what possibility you want to bring into existence and then you identify other possibilities that you don't want to bring into existence. You then drain the unwanted possibilities, removing all potential of them occurring. Naturally, you can redirect what's been drained into the possibility you want to manifest.

This technique is admittedly a variation of the one mentioned in Space/Time Magic, but I always find it useful to explore multiple approaches toward accomplishing something. It keeps the mind limber and ironically, in this case, keeps you open to possibilities.

Book Review: The Way We Think (Affiliate Link) by Gilles Fauconnier and Mark Turner

It's an interesting book that will challenge your thinking about you think and relate to different concepts in the world. At times, I think the authors stretch their theory, but overall I found this to be a solid book with good examples being used to illustrate what they meant by conceptual blending. I found the focus on language and metaphor to be particularly fascinating. With that said, this is a book best read slow and considered carefully. The concepts are complex and will challenge your thinking.

Communicating with the Land

I've always communicating with the genius loci or the spirits of the land. Communication with the land is not something verbal, so much as kinisthetic. It is a feeling, but it is even more than that. It's a relationship. Communicating with the land also differs from place to place. In my recent trip to Seattle, I was reminded of why I dislike living there, and indeed why I needed to move from there. The connection I have with the land in Seattle is a connection where that land speaks of how unhappy it is. The entire state of Washington is always a place that prompts a negative reaction on my part. I know when I've left Oregon, because I can feel a shift in my connection with the land. Communicating with the land in that sate and/or city is a communication that speaks to what the land is feeling and how it is shaped and is shaping what lives on it. Oregon, as a contrast, feels like home. There's something about the land that fits me, that fits together with who I am. Whenever I leave this state and go somewhere else, I feel a shift. I know I am not home.

I have no doubt that for people who live in Washington and/or Seattle, that those places are just as much home for them and that there is a connection that is fundamentally as deep for them as Oregon is for me. I know some people have told me that in Oregon they don't feel comfortable. It makes sense to me that the relationship any person has with the land is going to be unique to some degree, shaped in part by personality and in part by the land itself, and how it fits that person.

My connection to the land is an elemental connection. I do a lot of work with elemental spirits and bonding with the land has always been part of my work. The exchange of essence is an exchange of trust, and an acceptance of a close relationship with the land. I don't think of the land as a place or thing, but as something living, with its own input and feedback. It may not communicate that message through means most of us are aware of, but the land speaks, if you know how to hear and feel it.

Divine Union

The Dance of the Day is sponsored by the song of the Night,The Twilight times are when the courts meet and share a moment of respect urging each other on in their chosen duties longing for the next moment when they meet exchanging brief pleasantries in an exhausted daze before resuming the festivities that move the natural rhythm of life.

You and I find glimpses of the divine gathering in our eyes when we look at each other in a moment of connection that is both empowering and vulnerable within you I see the secrets of the universe revealed in a moment of ecstasy that is less about doing and trying to reach an outcome and more about being just being with you without expectation without need just perfection in that moment of union and bliss

We see the coming of the day, the departure of the night the spirits of the air drifting lazily over the solid sentinels of the Earth The spirits of water splashing to touch daringly, fleetingly the sandy toes of the Earth The spirits of fire lighting up a plume of creativity and destruction promises of oblivion wrapped in promises of warmth.

In each others' eyes we see all the spirits, the fey, demons, angels, and deities parade before us, promising something that is intangible the rise of the Kundalini serpent fills us with a quiet heat spreading through every part of us in your eyes I see life and death, everything and nothing all possibilities and none

This is divine union not having, not doing being, just being.

Book Reviews

Ghost Story (affiliate Link) by Jim Butcher

The Dresden Files is one of my favorite Occult detective series. I think its the best out there and this novel continues to show why I do. Butcher crafts a story with surprising plot twists, while exploring the afterlife in a manner that reveals that even when Dresden dies, he hasn't left behind his triumphs or his follies. If you haven't read the rest of the series, start with Stormfront...otherwise pick this one up and enjoy!

Power within the Land (Affiliate Link) by R.J. Stewart

In this book, R. J. Stewart explores concepts of time as well as working with the spirits of the land and how all of that fits into the underworld tradition, and how it fits into doing work to heal the land and our connection to it. The exercises are useful for demonstrating how to work with all of these elements, but what I found even more useful was his detailed explanation of working with the spirits and how it applied to his tradition.

Further thoughts on the psychologizing of magic

I'm really hard on Crowley sometimes. Actually make that all the time. Readers of this blog know by now that I have an avid dislike for his legacy. One of the things I come down hard on him is in regards to the psychologizing of magic. In the radio show I did on Friday, I commented on that in regards to his treatment of the Goetia. One of my listeners took the time to write a response and I really appreciated the critique in the spirit it was offered in:

While it is true that Crowley said "the demons of the Goetia are parts of the brain" and thus the psychologizing of magick can be traced at least as far back as him, but I think it is a mistake to assert that this is the only way he saw them. He also endorsed the preaterhuman existance of Aiwaz, Abuldiz, the Wizard of Almalantra and others. It's ok if you have a real issue with Crowley (welcome to the club!), but I have a real issue with your misrepresentation of the facts! You might be able to trace the psychologizing of our Art to some of his remarks but it was people after him that contributed most to this trend. All in all, though, I liked your talk and I must agree with you: Sprits Are Real! (I also like Lon Milo Duquette's "It is all in your head--you just don't know how big your head really is!")

This is a fair critique. Crowley isn't wholly responsible for the psychologizing of magic. Yes, I really wrote that. I actually will admit that I was a bit unfair to him (I bet some of you never thought you'd see this day). But (and you knew there was one of those), his effect on occult thought and theory is substantial enough that it doesn't take him off the hook entirely. A lot of contemporary occult theory is based off his ideas, so when he made that remark about the Goetia, for better or for worse, he did promote the psychologizing of magic (and IMO, it was for the worse). And unfortunately what I've noted is that people don't focus on his alternate perspectives about spirits nearly as much as they focus on that remark about the Goetia (I'm guilty of this).

With that said, this trend of thought and theory about magic has been around for a while and has had other people advocate for it. We see it in chaos magic, most notably, but I've also seen it espoused in ceremonial magic as well. It's something which a lot of contemporary magicians draw on as a way of explaining how magic works.

I don't care for the psychological model of magic. While I recognize that psychology has some useful concepts that can be drawn on, I'm leery of assigning magic as a psychological phenomenon that's all in your head. The reason magic is labeled in this way comes down a valuation of empirical methods of knowing and experiencing the world over other ways of knowing and experiencing the world. While I won't deny that magic is a subjective experience, I don't think it makes magic inferior or that it makes me a superstitious loon that I believe in the objective existence of spirits.

By the same token I realize that for some people the psychologizing of magic is how they best understand and explore it within their lives. I can respect that, but I don't agree with it, just as they don't agree with me.

Using sleep deprivation as an altered state of consciousness

Whenever I don't get enough sleep I can feel it through out the day. My response time is a bit off, and my thought process just isn't as focused. I don't normally go out of my way to get into a state of sleep deprivation, but I recognize that it is an altered state of consciousness, albeit one that is less than pleasant to experience. The feeling of fogginess is a state that can be worked with in a magical context. Sleep deprivation causes a blurring, not quite in control feeling. That feeling is useful for doing magical work where you are raising magic through activity, such as exercise or ecstatic dance. The reason its useful is because you're pushing your current state of sleep deprivation through activity to a point of exhaustion which in turn creates an altered state of no-mind, which can then be used to focus on the goal the person wants to achieve.

Ideally what will happen is that a person will use a state of sleep deprivation in tandem with an activity such as dance. S/he will either create a sigil or will develop some other magical technique that s/he will employ while dancing. For the sake of example, we'll just say the person will focus on the sigil while dancing. Eventually when the person is truly exhausted, s/he will stop dancing, but will continue to focus on the sigil, using the exhaustion as a way to focus every last bit of awareness on it. Then when the person can't keep awake any further s/he will go to sleep, continuing as best as possible to focus on the sigil, so that s/he can charge it in his/her sleep.

When a person has been sleep deprived and goes to sleep exhausted the sleep can be much, much deeper, so this is useful because as the person sleeps s/he allows the sigil to germinate.

Now if the person has thought ahead, s/he will have the sigil positioned in such a way that when s/he awakes, s/he will see the sigil, and recall the activities of the other night, and in that process, fire the sigil. It's a long build-up, but its effective, because you combine a variety of states of awareness into the working and when it fires, all of that effort contributes to the realization of the possibility you want to bring into reality.

Are spirits real?

I asked this question yesterday on my social networks and it looked like I had an even distribution of people who argued they are real vs people who are argued that they are just psychological. I present my own take in my radio show, but the gist of my take is I think entities are real.

Listen to internet radio with Experimental Magic on Blog Talk Radio

My inspiration for my magical systems

I was recently asked where I got my inspiration for the Sigil web technique in Space/Time Magic. But the person who asked also noted that he felt my work was writing was far enough away from the sources I cited that he was curious in general. It's a good question to ask. Where do I get my ideas for my magical work? If you look at the bibliography of any of my books, you'll probably note that one third to one half of the titles cited have nothing to do with magic. Or rather, they only have something to do with magic, because I saw something in the material that I knew I could apply magic to. The rest of the sources are books on magic...some traditional, some less so, all interesting to me, only so much in how I can take the content and experiment with it, in order to adapt it to my needs and circumstances. That's really how I approach anything I read: "What's in this book that is insightful and useful and how can I take it and experiment with it, both for my own needs, and also for curiosity's sake?" But that's just the surface. I'm an insatiable reader. I'm usually working on about six books at a given time, and all of it is very interesting, but that's only part of my inspiration.

I'm really motivated by curiosity more than anything else. I'm insatiably curious. I want to know what I can do...I want to test my limits, and I want to know how I can take all of my interests and apply them to magic. There's no tradition for me, no specific way of doing things. I get that for some people, a lot of people, that works...but not me. I want to know and explore and try things out. I want to be on the edge.

I'm inspired by resistance as well. Every person who's told me, "You can't do that", or "It's reinventing the wheel" has inspired me. I can't thank enough those people.

And I'm creative. I've always looked at the world differently. I see how things fit together and I run with it and play with it, and experiment...and so on.

My inspiration for how I approach magic, how I approach everything I do comes down to this: "It's always better to play by your own rules than someone elses" That's why I do magic the way I do it...because anyone else's rules for doing magic only interest me insofar as I can take it apart and put it back into something that fits my style, life, and needs.

Drawing on Pop Culture Influences

I like to experiment with pop culture in a variety of different facets in my life. Recently I needed to MC a local business event and beforehand I decided that I'd draw on Jim Morrison's (from the Doors) influence. He was a charismatic person who could really rev up his audience.  To draw on his influence, I listed to the album An American Prayer. I thought it was most useful, especially because it includes some of his poetry. I was very selective about what I'd draw on from him. I didn't want to draw on any of the self-destructive habits or behaviors he'd exhibited. I just wanted access to his eloquence and showman ship. To draw on that, I said the first few lines of An American Prayer (Is everyone in? Is everyone in? The ceremony is about to Begin...Wake-up!!!). I didn't say to it anyone, but I did say it aloud, and then I allowed those parts of his persona to interact with mine.

I did an excellent job with MCing the event. I had a number of people come up afterwards and tell me that they really enjoyed how I presented the event and walked people through it. Even today, I got a compliment from someone who'd been at the event last week. Any praise I received I offered to Morrison.

For experimental purposes, what interested me most was doing a working where I'd draw very selectively on the entity in question. I found it very useful to only focus on specific attributes I wanted. By being very clear about this, the invocation I did effectively allowed me to draw on what I needed without any unwanted contamination.

I think this approach could be applied to more traditional entities as well as other pop culture entities. It comes down to identifying both the desired and undesired attributes, so that you can draw on what will help you, without bringing along unwanted behaviors or actions. Selective invocation of attributes is possible as long as you can identify the attributes you want to draw on.

Interview with Mist, author of Fulltrui

In this episode, I interview Mist about her Book Fulltrui, and about spirituality in Heathenism. We discuss the psychologizing of magic vs the spirituality of Magic. It was a really good show and I look forward to having Mist back on the show in the future.

Listen to internet radio with Experimental Magic on Blog Talk Radio

I stand on the outside looking in

I've never really felt that I've fit in with the Occult or Pagan communities. I hold some rather unorthodox views including a vehement dislike of Aleister Crowley's influence on occultism. I've also managed to get into some heated arguments about my practice of magic (specifically pop culture magic) on at least one podcast, where they felt compelled to argue that because what I practiced was partially based on pop culture, it wasn't as valid as more "traditional" perspectives of magic. My writing has been called chaos magic for dummies and I've been told it hasn't broken much ground by people who have as much admitted they don't really practice magic (that one still boggles me). I maintain I'm not a chaos magician. I'm an experimental magician. Chaos magic is  just one of many systems I've drawn on, and not even the most significant, but I guess when you don't do anything that's considered traditional, its get lumped in as chaos magic. Regardless if it isn't traditional, you will get flak for it, or be ignored...

I get my books published by a small independent press, that I co-own, in part because I don't trust large publishers who seem more interested in the bottom line and in the broadest possible audience than in anything I might have to write. I've built the non-fiction line of Immanion Press based on the belief and idea that there is an audience for niche and advanced topics. It's something I continue to hold to and as a result we've been able to publish books and anthologies that likely would never be published otherwise.

I'm saying all this because I am a contrary person and I don't regret any of it. I'm saying this because fitting in isn't all that important. I fully acknowledge my responsibility for not fitting in...because it's a choice.

I stand on the outside looking in. I have stood on the outside looking in many, many times during my life, and in many different communities.I stand on the outside and I welcome it because of the perspectives it has brought me. I welcome it because being outside the mainstream of a subculture or culture can take you some interesting places and can cause you to challenge what is accepted in a way that forces whatever is accepted to really examine itself.

I don't know that I will ever fit in to the pagan or occult communities. I'm grateful that I have, over the years, gained some recognition from people who have found real value in my work. There is something very humbling about hearing someone tell you that you've inspired his/her's magical practice and even life choices. It makes you realize that you can have a positive effect on people's lives.

I have always advocated that people should challenge authority, and should go their own way. My entire life has been about going my own way, even though going my own way hasn't involved taking the obvious routes of rebellion that some occultists take. I've had many people try and discourage my vision for my life. "That book will never get published" or "your reinventing the wheel" or "Your not hardcore enough" or any number of other things. I've always maintained they're wrong and I'm right...because when it applies to my life, the only person who can really make a judgment call on if what I'm doing is right or wrong is me. The people who have tried to discourage me are people who just don't get it...they don't get that you don't need to fit in with what everyone else is doing. You just need to be who you want to be...and let that manifest in your choices. You also have to accept the consequences, like some of the ones I mentioned above. You have to accept that you won't fit in, that you will be disliked and that what's more important is your vision. Life isn't about pleasing everyone...it's about being true to yourself so you can also be true to the people who really matter.

I stand on the outside looking in...It's a pretty damn good view, if I say so myself.

Book Review Earth Light (Affiliate Link) by R. J. Stewart

This book is a continuation of Underworld Initiation. In this book Stewart presents further refinements to his system as well as explaining and presenting information about the faery and how they can be worked with. The pathworkings he provides are useful for exploring the tradition further. I'll admit that my main interest is in the techniques and I found these to be solid and very helpful for some of my ongoing work. I highly recommend this book.

Of Wounds and Tattoos

In a previous post, I showed off my most recent tattoo. Since showing it off, I've had an interesting, if somewhat painful experience that I want to relate. A couple days after I'd gotten the tattoo, I had three sores appear around the tattoo. One sore was actually in the tattoo, but on a spot that hadn't been inked. Another appeared in a straight line below it, and another appeared at an angle, where you essentially had a triangle. Without getting into too much TMI, the sores ended up infected, with one becoming an abscess. The timing of this was interesting. Kat, my wife, thinks that my body was responding to the tattoo and releasing toxicity. Given that I'd gotten all the work done in a 3 week period, I can believe that, but at the same time I can't help but wonder if it was also a demonstration of what the tattoo represents: Balance in Identity. Achieving balance means facing and releasing toxicity in your life. It means recognizing where you've allowed yourself to be held up by your own issues.

In meditating on the wounds that appeared, I realized that they represented the work I'd done and continue to do with my elemental balancing ritual. I've worked through a lot of internal toxicity and cleaned it out of my life. It's been painful, but it's also freed me of so much of what I was holding in. Those physical embodiments of the toxicity reminded me of all that work. They're also a reminder that such work can be ongoing.

In other news...

Recently Immanion Press released its latest Anthology: Shades of Faith. You can order the book via this website or via Amazon. Here's a brief description of what it's about:

Shades of Faith: Minority Voices in Paganism is an anthology that encompasses the voices and experiences of minorities within the Pagan community and addresses some of the challenges, stereotyping, frustrations, talents, history and beauties of being different within the racial constructs of typical Pagan or Wiccan groups.

Moving away from linear time

In this radio show, I talk about why its a good idea to move away from linear perspectives of time in order to do effective space/time magic.

Listen to internet radio with Experimental Magic on Blog Talk Radio

Somewhere in Time

I watched the movie Somewhere in Time last night. It's an interesting film because of the time travel aspect. In the film the protagonist travels back in time and to do this he hypnotizes himself to believe he is in the year 1912. To make this work, he has to remove everything from the room that would remind him of the modern era. He also dresses himself in clothes from that time period, that would fit in where he is going. He then hypnotizes himself and ends up traveling back in time. It's an interesting idea for a technique. In the movie he had a specific day and time he was showing up. What ends up bringing him back is an encounter with something modern.

Could this be used as a technique for retroactive magic or for space/time magic work in general? I don't see why it couldn't be. If you were going to use this for retroactive magic, you'd need to acquire period technology, clothing etc. This would help your mind accept the idea that you were traveling back into the past.

Applying this technique to the future would be harder, as obviously you wouldn't have access to period clothing or technology. Nonetheless I don't think it's impossible. It really comes down to questioning if you even need a label of the future to access a different point of time. And if you are concerned about that, the way you could get around this is to use the technique to contact your future self or a future descendent, to provide you a repository for your consciousness.

What makes this technique so interesting is that hypnosis is used to achieve an altered state of awareness that accepts the possibility of being in another time (although in the case of the movie, anchored to the same space). The anchoring of the space provides stability for the mind, in terms of accepting the temporal shift, but still having a space the mind is familiar with. I've used hypnosis enough to know it can be useful for hitting heavily altered states of awareness, including temporal shifts, so I think it's possible to experiment with a concept such as this and use it with some degree of success for making changes to your past or future.

You'd need to develop a script that you could use to put your mind into a deep state of relaxation while also pointing it to a specific temporal moment you want it to inhabit. It also helps if you can describe the spatial aspects in some detail, in order to provide a grounding in the new environment you want your mind to go to. Most of all though you have to want to go there. It has to be somewhen that you want to be more than anywhere else.

My own experiences with retroactive magic have involved going back to a past version of myself and then helping the version make a different choice. I've found it useful to thoroughly explore the memory setting of that past version in order to fully integrate my present self into that post moment, but I've also used my past version as my anchor point. That past version has also provided that emotional basis for needing to be in the past. In the movie, since the character was going into a past where he didn't yet exist, the emotional basis that caused him to need to be there was his desire to meet someone in the past that he felt an attachment to. We can't ever underestimate the power of desire and emotion and where and when it can take us.

Developing a relationship with the spirits

I've been reading a lot of spider-man comics lately and one theme I've noticed in some of them is an exploration of the spider as a totemic being that spider-man is aligned with. It's interesting to me because at the same time the question is raised as to why Spider-man hasn't explored this connection in a more meaningful way. He's accepted the spider on the surface level, but not necessarily gone deeper. I think that commentary speaks as much to people in general as it does to him, but I'm not referring so much even to an exploration of the spider in more depth, but really a more in-depth exploration of any being or spirit a person would work with.

In the comic book, the character of spider-man never really does explore the connection he has with the spider to any greater depth than he had before. There's a brief move in that direction, but then other writers took over, and spider-man moved on to other things.

How I apply this to magic is just this: it seems like in some cases, working with an entity is really a casual experience. You get an idea or two or something and then you move on. But I think that kind of approach is really the wrong way to go about it. When I started working with elephant, I did some research by reading about elephants and did some meditation work as well to just get to know him. Even now I've continued to learn about Elephants, because its a relationship I want to maintain and explore. I recognize that there's a lot I can learn about Elephants and to just work with the spirit of elephant on a casual level doesn't really do justice to the relationship I could have.

The same has applied to working with Goetic spirits, angels, and other spiritual entities. Really working with these spirits means forming some kind of relationship that goes beyond just calling them up when you need something from them. But there's this tendency to do exactly that. What I've found to be most meaningful is developing a relationship with a given entity in such a way that it knows there is reciprocity involved. And there's good reasons to do it, not the least being, that you can learn the full extent of how you and the entity work together if you take the time to really develop that relationship.

Spider-man never really gets curious. Maybe part of him is even afraid of what he'll discover.  But it seems to me that curiosity is a good thing with entities. We ought to really know more about what or who it is we choose to work with. And when we don't take that time to really explore this relationship we've created, at some point you've got to wonder when the piper will come for his due. By taking the time to get to know different entities, to form relationships that involve treating the entity as a separate being instead of a psychological construct, and understanding that for what is given there is always a price, I've learned a lot about the entities I work with. I feel like we've got the measure of each other, and that's definitely a good thing.

Conscious awareness as a reaction

As I've been writing Neuro-Space/Time Magic and exploring the concept of Identity, and how genuine changes occur in a person's life, I've been thinking a lot about consciousness. Consciousness is put on a pedestal in a way, as a big accomplishment, and I understand why that is. Consciousness, when applied in a mindful manner, can help a person control his/her reactions and even develop proactive strategies. As a friend of mine put it, it's awareness of awareness, which is significant when you consider that such awareness can be used to put a situation and responses into perspective. But (you knew there was a but coming), I also think that consciousness is a reaction. It's a reaction to the environment around you, as well as your internal responses to that environment. It's a reaction that focuses on controlling your response. You realize that a controlled response is the best possible solution for handling the situation. And perhaps what makes consciousness so useful is that such awareness can be used to put into place responses that are more useful for handling future situations. Awareness without action won't change anything, but awareness with action changes a lot. Those actions can be integrated into how we respond to situations, and in that process we can acknowledge that such actions are still reactions...conscious reactions applied to handle a situation from a place of awareness.

For a change to occur as it applies to behavior, you've got to make that change on a deep level. It's a change of identity, which includes a change of values and beliefs in order to support the action you'll take. Those kind of changes go deeper than conscious awareness, but conscious awareness can be used to go in and implant those changes and make them part of your reactive responses.

Consciousness is a tool. It provides some awareness of self, enough to be aware of the need to change and enough to allow a person to enter into an altered state of consciousness to go in and make those changes...and we'll still react...we'll just react with chosen reactions as opposed to ones put on us by events an circumstances.

My interview with Mona Magick on Inner Alchemy

Last week Mona Magick interviewed me on her radio show about Inner Alchemy, Neurotransmitters and Space/Time Magic. It's been a while since I've been interviewed, so it was cool to be on this show. Thanks very much Mona Magick!

Intellectual Passion

When we usually think about passion we associate it with emotion, but in doing some reflection I find that a lot of my passion is intellectual. There's something exciting about learning something new or putting together an experiment. or following through on a plan of action. I've always felt a passion for that. It might be an emotion, but it's not quite the same as feeling love for someone. It's a flash of excitement that burns in a different way than an emotion does.

When I feel intellectual passion, I feel like I've found a clue or something that I can then pursue until I find everything else associated with it. It is a single-minded focus that blocks everything else out. What matters is this intellectual passion and that's all that matters.

Applying it to magic usually involves doing research and or experimenting with an idea. It drives me to focus on it until its finished. I don't want to let up when I could achieve something if I follow through. For magical work its important to explore every possibility and every part of your process. Ideally you are curious about why and how magic works and you explore all of it so you can refine and personalize your practice.

Intellectual passion is curiosity...it's never being satisfied with the answers of others or settling for the idea that as long as it works that's all that matters. The magician wants to know more, wants to explore every angle. Only the dilettante settles for the push button approach to magic.

Do you feel intellectual passion for your magical practice? What stirs it up? What excites you?

Identity Tattoo Part 2

 

Yesterday I went in for the last session of the identity tattoo. This time, for me, the focus wasn't on covering something up, but being open to identity and where it could take me. Instead of trying to rewrite the past, I just allowed myself to be open to the present, and the possibilities of the future. I think part of that too came from the sense of completion I feel around writing Neuro-Space/Time Magic.

Identity has been such an interesting element to explore...it's a meta-element really because its present in everything, no matter how much we try to deny it. It could even be argued that our denial just strengthens it. Regardless of how you look at it, however, identity is present. It goes beyond a constructed sense of self to something much deeper. It displays itself in everything we do or don't do. It's a cycle, and that's why the tattoo ending up the way it has makes complete sense to me. All of the internal work I've done, everything I'm doing now is part of a cycle that's my identity. And it goes beyond one life time, I think...it's a continuing exploration of everything, changing in a dance that we can sense if we are open to acknowledging it.