The Process of Magic Round 9 Starts May 21st

blacksigil_400px-72dpi Magic is a process that changes you and your relationship with the world, if you understand how the process works.  

In this 24 lesson class, we will explore what the process of magic is and how it applies to you and your magical work. If you’re looking for a different perspective on magic that explores the underlying principles of how magic works, instead of focusing on the tools, ceremonies, and other optional features, this class is for you. Round 9 starts on Wednesday 21st. To learn more about this class and what you'll learn visit: The Process of Magic

 

Reincarnation and Resting on Your Laurels

Reincarnation  

I'm reading the Old Sod, which is a biography of William Gray. One of the themes that comes up in the biography is reincarnation. Apparently Gray's mother believed that she was the reincarnation of a lover of Eliphas Levi and and one of the initial teachers of Gray believed he was a reincarnation of Eliphas Levi. For that matter I seem to recall that Crowley believed he was a reincarnation of Eliphas Levi. I've never really understood the fascination with reincarnation or why people feel compelled to claim they are the reincarnation of famous person x, but nonetheless it seems that it's been quite fashionable to claim you're the reincarnation of someone, as if that somehow passes on legitimacy. The problem I have with reincarnation, as it applies here, is that even if you are the reincarnation of person x, it doesn't matter because you aren't that person anymore, and an investiture in a past incarnation is an attachment that could be quite unhealthy.

For example, lets say you believe you're the reincarnation of Aleister Crowley. How will you ever measure up to that previous incarnation? I think that such an identification can lead to a resting on the laurels of someone else, without really challenging yourself. I was this person in a previous life and now I don't really need to apply myself because of that. It's ridiculous, because even if you are the reincarnation of such a person, you aren't that person now...and it shouldn't really matter.

I've never been interested in figuring out who or what I might have been in a past life. It's the past and right now I'm Taylor Ellwood and that's all that matters. I'm here to have experiences, learn and share and live for as long as I have life. And when I inevitably slip the mortal coil and go onto wherever I go to, that which is Taylor Ellwood will be subsumed to the primal essence that underlies it all and be returned to the universe...and should that essence be reincarnated it will be as someone else with new experiences to have, new things to learn, and new things to share. I hope that future person won't have the hubris to claim it used to be me or feel a need to return to this life.

I suspect that reincarnation matters to some people because they want to feel that some aspect of their personality lives on in later lives, but your personality is temporary and holding on to it as a form of attachment, brings with it all the foibles and faults that person had, without any guarantee that you'll necessarily have the skills and gifts the person had. It should be enough to be who you are, and let that being speak to the experience you are having now. Whoever you were is gone...now is your moment...embrace it as an opportunity to be in this moment, to learn and to let go of false attachments that do no good and will ultimately only hold you back.

Elemental Balancing Ritual Movement Month 18: Design

Eros 3-22-14 I found a segment of Psychic TV the Black album on youtube. It's been way too long since I watched the video so it was a nice surprise to even see part of it. I used to have it on tape and then it got lost. Watching it always puts me into a creative flow mindset and that's what it got me into tonight. What as really interesting however was having several dialogues with people about concepts related to experimental magic and seeing those people embrace it, really embrace and accept the value of going outside of convention. I feel like with pop culture magic especially, but also space/time magic, these currents are coming more into their own as more people recognize the validity of them and want to apply them to their lives in meaningful ways. To see that happening, especially when it seemed like I was a lone voice for a long time is really gratifying. I'm not alone anymore. There are other people out there actively working with and interested in the same concepts and practices. 3-23-14 Something I've been doing with movement is calculating movement, or if you will planning it be design. I look at a possible movement I want to do and I explore the timeline of that movement, calculating what could happen, where the movement could go, and what factors would need to change. This has helped me recognize whether or not a given movement is wise or if I should let it go. It's also helped me understand whether a desired result is really worth the effort involved in moving toward it. I've been an impulsive person and still can be on occasion, but I'm learning to step back and consider the path before I actually set foot on it.

3-26-14 I've continued reading Born for Love. In the latest chapter I read the topic was on lies and consequences, which ultimately became a discussion about altruism in society. What it brought up for me was my own experiences as a child. I learned early on how to lie and how to lie in such a way that it would be very hard to tell if I was lying. I had to learn this skill early on because I found that when I told the truth I was punished. There was no motivation to be honest when no matter what I did I would be punished and penalized. Lying, on the other hand, at least delayed the consequences. It took a long time to undo this particular behavior and change it. And even now I find that it can be hard tell the truth, because there is always a feeling of fear, especially if I perceive someone as an authority in my life. Authority has always been the enemy, because authority has always been more interested in crushing me than actually helping me.

The key, as an adult, has been to realize I am the ultimate authority of my life and anyone else in my life may have a lace of importance, but I determine that importance. It's helped me work through the fear and become more honest as a result. On the other hand, learning those skills and surviving as I did in my early years taught me a shades of gray approach to life that I still draw on. I don't feel its bad to have that mentality and it has certainly helped me significantly, but with the people closest to me I want to continue to work toward being able to feel safe enough to be fully present with them. Another interesting point: "Altruism can survive in a population only if those who don't do their part aren't able to get away with it for long." So true. In networking, altruism works if everyone looks out for each other and actively works to help other people. The question I start with everyday is "Who can I help today?" That question defines my existence, defines my life and keeps me focused on helping other people. I know altruism has more benefits than a more selfish perspective does.

3-30-14 A lot has happened over the last few days and I'm only writing it here. Kenny Klein, a Pagan author and musician, was arrested and charged with 25 counts of Child Pornography on his computer, which he confessed was his. He also confessed that he had downloaded and shared the pornography. I didn't find out about this until someone asked me what Immanion Press's position on the matter was. I responded and later that day Storm and I decided to pull the one book he'd published with us from the line-up. We didn't feel we could continue to support someone who'd admitted guilt to such things. Some people have supported our decision while others have told us we're irresponsible or claimed we're doing it for PC reasons. It doesn't matter though. I know why I wanted the book pulled. Because it doesn't reflect the values of Immanion Press to support the work of an author who has done such deeds, but also because on a personal front, I know what it's like to be a victim of sexual abuse and I don't want to support someone who has caused harm to other people and contributes to causing additional harm to people. this whole incident has stirred some feelings up, but for the most part of I've focused on the community and the need all of us have to make sense of this and make meaningful change moving forward.

On a somewhat related front, I recently finished reading a chapter in Born to Love about sociopaths. What I found interesting was how the early years of life can contribute to sociopathic tendencies. In other words if you don't get the requisite love and attention you need you can end up with such tendencies. A sociopath treats other people like objects and can have addictive behavior to experiences that make them feel something. I don't feel that I'm a sociopath, but I could see how the neglect I experienced in my early childhood lead to me being distant with other people. Through the internal work I did and work I've done with Kat, I've become much closer to the people in my life, learning how to let them in and learning how to connect with them emotionally in ways I couldn't do before. It's taken a lot of work, but as I continue to undo the learned behaviors from my past and become closer I find myself forming more meaningful relationships with people as a result. The Klein situation does get me to think some of my past interactions at conventions and festivals. When I was in my 20's I didn't respect people's boundaries as well as I should have. Eventually it was pointed out to me, and I did a lot of work on my awareness of other peoples' boundaries, and on my own behavior and boundaries. I've really had to face myself and it hasn't always been easy, but I'm glad I have because I want to be a person who is good for myself and the people in my life.

4-3-14 It's interesting to observe how people respond to being challenged, myself included. I had a recent interaction with an another occult author on this blog and while it ended well, the initial response was heated. I resolved to be professional and I think I handled it well. I'm not invested in being right and I know I can learn and I'm willing, indeed driven, to learn. What drives me is curiosity. I want to learn and so I don't care if someone makes a point that involves me revising a position I've taken. If I'm so invested in that position that I'm not open to learning then I'm doing myself a disservice as a magician and spiritual seeker. Whereas if I'm open to learning what I can discover will surely help me improve myself as a person and improve what I love to do.

4-6-14 I think of movement in relationship to design as purposeful movement that is done to achieve specific results. This month has shown me that in a number of ways I hadn't expected, such as with the publishing work, but also with a lot of the activity I'm doing right now to set up events and classes for the summer and fall. A lot of movement is happening and a lot is happening in the background to make that movement possible. It's not spontaneous in the way some movement is, but rather is directed and focused movement that requires that everything is set up just so in order to effectively each the design. 4-8-14 I just finished watching the movie Jobs, while working on layout. I always find biographical films interesting, especially when its about someone who has a vision for changing the world and forces that vision through regardless of what other people try to do. Such people are different because they look at the world differently and see something that can be changed in a fundamental way. When I look at my own work, both the writing and the publishing of other peoples' writing, I can tell you that my motivation is to change the world, to change the communities I am a part of, to challenge the status quo. I think you have to have that motivation if you really want to bring change to a discipline you are involved in. You have to be willing to take a risk and do something differently because the potential result makes the change worth it. 4-10-14 Last night I attended a talk at ODN on leadership and how your leadership style is reflected by the people around you. It was an interesting that got me to thinking about how the conflicts I have with a person are reflective of the values each of us holds and how those values conflict with each other. It gives me some thought on how I can assess my interactions with people, in respect to values.

4-14-14 Back from an intense weekend workshop I did with R. J. Stewart about William Gray and Ronald Heaver. There's so much to say, but I'll start simple. An internal issue that came up as a result of the work was a recognition of how the need for approval has seeded itself in my life. I've addressed that issue on certain fronts, but spiritually, I haven't. It came up for me when I realized that William Gray the person probably wouldn't really approve of how I practice magic. Seems silly to worry about what a dead person would think of how I practice magic, but I'd built up this image of him in my head, and this weekend that got stripped away (which was good) and forced me to face this issue of approval.

Today, I meditated on the issue of approval and what I came away with is that it stems back to childhood, to wanting approval from my family and later on wanting approval from people I learned magic from. I even see this desire for approval coming out in some of my current interactions. So what does this tell me? That I need to work on that need and addressing it. Realistically I don't need approval from anyone, but I recognize this emotional need for what it is and how it shows up in my life. As for the weekend itself...I did experience a mini crisis of faith based off the perspective I had about Gray, but I came through it more connected to the spiritual lineages that my magical practice is part of. Kat helped me work through some of what I was feeling, but what helped the most was several encounters with Gray while doing the magical work this weekend. The first time, he just said, "Ok so now you know what a bastard I was. Are you really going to let that stop you? Get over it and decide: Do you want continue working with what I have to offer and deepen that work or do you want to go on you way?" Straight and to the point. I chose to go deeper, getting over what I felt about the person and focusing on the spiritual connection I know is there and choosing to deepen it.

When I told R. J. this, he told me that I should contact Jacobus Swart, who I am acquainted with, so I'll be doing that soon. Saturday night I did dream work and in that dream work I encountered William Gray again and we talked further about magic, the importance of internal work and why it needs to continue being integrated in magical practice, the importance of experimentation in magic and also about my calling in this world as it relates to magical work. He told me to get in touch with Jacobus and also urged me to continue working with R. J., while also continuing to develop my own practices. Afterwards I encountered a short, darkhaired woman, with a martial nature who talked with me about magical partnership and how each partner grounds the other and provides the basis for going into deeper magical work through consistent practice together (I suspect she was Bill's partner Roberta). Then on a field of Green, I encountered Ronald Heaver who briefly discussed stillness as a form of magical practice and told me to re-read the book about him when I switched over to stillness and call on him as an inner contact for that work. I felt that the connections with all three changed some internal magical structures for me.

There was a lot more that happened this weekend, but I'd say of what happened, that each practice served to deepen the connection to the respective lineages that William Gray and Ronald Heaver are part of and allowed me to integrate those lineages into my continued work.

4-15-14 Further meditation on approval today was quite instructive in allowing me to release the need for approval. As I dissolved the blockage around approval, I felt myself come to a place where I met with a younger version of myself and helped that younger version understand that he didn't need anyone's approval to do anything or to be praised for what he's done. The magical work we do is what matters...the fulfillment of my calling and purpose is what drives me. Everything else is temporary.

4-16-14 In my dream work and later meditation I was visited by Bill Gray and Bobbi his wife. They both spoke at some length on magical partnership and how important it is to have a firm foundation with your partner in order to effectively develop magical systems and/or traditions. I also felt a continued energetic exchange and a continued push toward some of the work I'm now looking at. It's interesting to me, that I'd decided to re-read The Ladder of Lights right before the workshop and now it seems more appropriate than ever to pick it up and work with it.

I'm also reading The Old Sod, which is a biography about Bill Gray. In reading about his early life, I see a lot of parallels with mine. Like me he grew with an interest in magic, pretty much from the get go and like me he grew up in an environment where he was mostly neglected. Seeing such parallels in his life doesn't surprise me...I think you can unfortunately find such parallels in the lives of many people. But what it does make me feel some sense of sadness and recognition that for so many people there really is no such thing as a family automatically. We find our own way and if we are lucky we find our way to people who become chosen family.

4-17-14 When I first got into occultism I had this naive idea that people in the magical community would somehow be more enlightened, open minded, and open to learning than other people. I eventually learned that occultists and pagans were like everybody else. Some people are open minded, some people are close minded, etc.. What really matters is that you find the people that are right for your life...It's something I've recognized about the company I keep now. The more internal work I do, the more I pay attention to my calling, the more I align myself with people who hold similar values. Ironically, I suppose, this serves to filter certain perspectives out, but then I figure that if I really want to seek those perspectives out I can do so without necessarily inviting people in, by finding the right cultural artifacts that represent those perspectives.

4-21-14 Last night I had a dream where I was given all these gifts, but I couldn't handle all of them, so most of them were taken back and I was told you are only given what you can handle. My meditations have also run around a similar theme of recognizing what  have and working with it. I don't think there's any particular reason for this message other than to recognize what I've got and to know that I can handle what I have in my life right now...which is actually a good message to receive. As I've thought about this month and the theme of design, I've thought about how the experiences I've had this month, in one form or another, have all shown how design manifests...it's not always my design, but there is a design in place and the movement that occurs runs in that design. I can work with that...I am working with that and it is something which makes me appreciative of movement and the context movement happens in.

4-22-14 Another dream last night, where I was directed to read The Sacred Cross by Anastacia Nutt and integrate it into my spiritual practice. When I was at the workshop a week and a half ago I felt very drawn to this book, so I picked it up. I usually don't feel so drawn to a book, but this one called to me...and unusually I'm reading it sooner than later, as most books I get go to the bottom of my to read pile. Kat told me that the day she met, she actually took the class on this material from Anastacia. We both found that to be an interesting synchronicity. I suppose it's just another layer of the design of movement showing up in my life.

How you can rewrite function in magic

function In a previous post I defined function as an action that is supposed to occur within a process, in order to move that process along. I wrote another post where I used an example to explain how functions work in a magical process, namely as actions that lead to or connect with other actions that move the process along. Now we're going to explore how to rewrite a function in a magical process. When a process of magic doesn't work the way you expected it to, then you need to examine the functions of that process and likely rewrite them. A function is really the description of the action and how it ought to work. It is your understand of that action and how it executes a principle of magic in order to fulfill the process. Thus what you are rewriting or changing with the function is your understanding of that action and how it ought to work.

It's important to recognize the distinction of rewriting a function based on description as opposed to action. The action performed may change as a result of how we change the description, but we are changing the description so that we understand how the action works and can accordingly perform it to realize the process. When a process doesn't work, its usually because the magician doesn't fully understand what is happening. That lack of understanding allows for variables in your magical process that can change what happens. In a sense, what understanding does is define the path of possibility and lock it in, so understanding is not only important in terms of knowing why actions occur and how magical principles inform those actions, but it is also important in terms of locking out unneeded variables and possibilities.

When you rewrite a function, you first examine it in terms of what ought to happen and ask why the action didn't happen the way it ought to have. What you'll likely discover is that the function doesn't connect to the next function in a way that is understandable. We humans need to know how something connects in order to fully accept that it will connect. And this mean that the connection needs to be logical or rational. It could be irrational, but it needs to make sense and if it doesn't make sense what that demonstrates is a lack of understanding of what the function is supposed to do and how what occurs fits in with everything else happening in your magical process.

Once you discover what the issue is, you need to rewrite the function. This involves changing what occurs when the function is executed so that it connects to other functions and makes sense to you when doing so. What this reveals to us is just how important it is for a given magical process to make sense to us. If it doesn't fully make sense, some part of us will reject it and that is what will truly sabotage the magical working. This isn't a matter of psychology, as much as it is a matter of comprehension. The way we comprehend the world and our own actions necessarily informs the magical work we do. To neglect that or assume it doesn't matter is to reject a crucial element of the magical work: Ourselves and how we execute the magical work through the functions we perform and our understanding of those functions. I don't think this aspect of magic is discussed enough or if it is, its fashionably written off as being psychological, but I'd argue it's not psychological. It is a recognition that the magician is at the core of the magical process, and that his/her understanding of that process and the functions of the process is a key part of what makes the magical process work. S/he may understand the process and functions in different ways, spiritual, psychological, informational, etc., but however you categorize the understanding what matters is that s/he can can connect the process to the result in a manner that makes sense and enables him/her to execute the process and manifest the magic into change that transforms reality.

My Work with Vine

VineRecently I worked with Vine (pronounced Vinea - long a). He's another of the goetia that focuses on space/time magic. In the Goetia, the description of him is that he appears in the from of lion, riding a black horse, beating a viper. His functions include discovering things hidden, witches, wizards, and things in the past, present, and to come. He is also apparently a builder and can cause sea storms. You can see his seal, above, which I recently painted, as part of the work I did with him. When I first contacted Vine, I did an invocation, where I memorized his sigil and then chanted his name. The chant was set up where I'd mentally say his name thrice, then whisper it thrice, then say it louder thrice, and so on and so forth. I did about three iterations where I mentally said his name and brought it up to a shot and then back again to mentally saying the name and building up to the shout. On the third time, the sigil disappeared and in its place he appeared in the classic form ascribed to him in the Goetia. I asked him how he could work with me, especially as related to space/time magic.

Vine discovers and aligns hidden possibilities in other people with the magician he works with. In other words, He draws other people to the magician by aligning their probabilities with the magician so that they are more likely to encounter the magician. It's an interesting and unusual approach to time magic because it's not directly focused on the magician, but rather is indirect and focuses more on setting up opportunities for the magician through the people s/he meets.

I started working with Vine in mid March and so I've had some time to work with him and see if this particular take on time magic works. It appears like it is working because I've had a higher number of people show up in my life with opportunities that were beneficial for all involved. When I work with Vine, I make it very clear that I want to connect with people, where the connection will be beneficial for all involved. I prefer such interactions because everyone wins and because it allows for the cultivation of long term relationships. In my particular case, I've noticed that a number of business opportunities came into fruition involving people I just met, and I also noticed I was able to make some good connections in the occult community, both in terms of magical practice and publishing. What stands out to me in both cases, is that the numbers have been higher than usual and the connections have sought me out as opposed to me needing to do anything. In my system of space/time magic, Vine fits in as a guardian of time as it relates making temporal connections between people.

 

Daemonic Realities and Imagination

Daemonic Reality One of the books I'm currently re-reading as research for Pop Culture Magic 2.0 is Daemonic Reality by Patrick Harpur. If you haven't read it, I highly recommend it as he makes some interesting connections with the classical conception of a Daemon and paranormal experiences that have occurred in the contemporary world. Not all of his information is as accurate as it could be, but there's useful concepts to explore, especially as it relates to the notion of imagination interacting with reality to create an altered reality. For example, he argues that UFO sightings can be an interaction with Daemonic Reality, using case studies where people thought they experienced a UFO, when actually what they saw was the moon or sun, but how they perceived it changed their perception of it, putting them in an altered reality of sorts. What I find fascinating about this book also is how he explores sightings of bigfoot and provides a similar context. In one distance, he discusses a family's interaction with a bigfoot and how they failed to understand the significance of it wanting an offering, when it left a feed pail out in front of their barn. They would hide the pail each day, thinking it was a game, when it actually wasn't. The variety of anecdotes in the book make for fascinating reading and in my opinion shows that there is an intersection between Daemonic Reality and our own perception of reality. Harpur notes the following:

"Our trouble is that we have been brought up with a literal-minded worldview. We demand that objects have only a single identity or meaning. We are educated to see with the eye only, in single vision. When the prenatural breaks in upon us, transforming the profane into something sacred, amazing, we are unequipped for it. Instead of seizing on the vision, reflecting on it...we react with fright and panic. instead of countering like with like, that is, assimilating through the imagination the complexity of the image presented to us, we feebly telephone scientists for reassurance. We are told we are only "seeing things"  and so we miss the opportunity to grasp that different, daimonic order of reality which lies behind the merely literal."

It's an interesting point he makes and one I agree with. We get caught up in our own perspective of what reality should be that we don't always consider that reality could be something. A literal approach to reality is a seemingly safe approach to reality because it constrains reality to the physical perceptions that a person has, but in that process it discounts the imagination as something which is fictitious and treats the supernatural as being purely psychological, without considering that an encounter with the imagination can still bring with it a form of reality that has an effect on us. Harpur further elaborates on this problem when he notes the following:

"Literal reality is only one kind of reality, deriving from a superordinate reality, here called Daimonic,  which is metaphorical rather than literal, imaginative rather then empirical. Literal reality is therefore, if anything, less real than daimonic reality. Moreover, in relation to the history of our culture, and also to traditional cultures, a belief in the literalness of reality is the exception rather than the rule. Literal reality is the product of literalism, which is really a way of seeing the world, but which insists that it is a property inherent in the world. It insists that it is the only reality and, as such, actively denies other kinds of reality, especially the daimonic, which it calls unreal, fictional, even delusional."

The problem with literal reality (aside from how dull it is) is that the denial of imagination is also the denial of the sacred, but also the denial of possibility. In a literal reality, the focus is only on what is denoted as real, and so the awareness of possibilities is constrained toward what seems most likely to occur, as opposed to being open to the experience of other worlds. The Daimonic imagination on the other hand entertains the possibility of other worlds and the acceptance that these worlds intersect with our own under the right circumstances and sometimes through the right actions. A Daimonic reality isn't limited to the here and now, but instead opens us to intersections with alternate realities, as well as encounters with spiritual beings. For those people who steadfastly cling to literal reality, an encounter with daimonic reality is unsettling because it doesn't neatly fit into a category and it can't easily be written off, though of course there are certainly enough attempts to do so.

One of the reasons I find pop culture to be relevant is because it allows for an engagement of the person's imagination through structures they are willing to consider that can also be co-opted into Daimonic imagination and reality. Since spirit beings aren't attached to one form or another, there is no reason to think they wouldn't take on the form of a pop culture character, especially if we also consider that such a character will embody certain traits that can be useful for the spirit to employ. On the other hand, it could also be argued that such characters are becoming part of the Daimonic reality because of their relevance to people. Nonetheless such structures are derived from human imagination, and in part from the desire for a literal reality, whereas the Daimonic imagination and reality is something which responds to and interacts with people, in ways that aren't tied to human conventions.

An encounter with Daemonic Reality is an encounter with something we don't control. We interact with it, but it doesn't fit our rules or categories. Rather it challenges us and causes us to realize that we may not be in as much control of the environment as we delude ourselves into thinking. It throws literal reality in our face and demands we question it and consider in that process that imagination is more than fiction...imagination is a doorway to the sacred, a doorway to the unknown and we can choose to open that door and see what lies beyond, but when we do so we know we are no long operating under just our own rules, but also entering Daemonic reality, with all the possibilities it contains that offer us a glimpse behind the curtain of conventional reality.

 

The Equation of Working with Entities

equation Sometimes, in my approach to process and applying it to magic, I like to look at a given process in terms of an equation. An equation elegantly lays out the dynamics of a process, demonstrating what it takes to make that process work. When we explore the process of working with an entity (spirit, daemon, etc.) the equation we are using to describe the process of that work is based on the relationship we have with the entity, as well as our understanding of the relationship the entity has with the universe. I'd argue that our understanding of what a given entity does is subjective, because our understanding is situated through a human perspective and in general what you see written about entities has more to do with the type of relationship they can have with a person than has it to do with what their relationship is to the universe. When you do see their relationship with the universe written about it, it's written in a way which is very mechanistic, as if the entities were cogs in a machine. Again, I think this understanding of their role in the universe is subjectively biased and as such may not be as accurate as it could be.

I've written previously about my decision to take a non-anthropocentric approach to my work with entities, including the work I'm doing with the microbiota within me. The reason I've taken that approach is that I've realized that to really understand and work with entities I need to be wary of applying the subjective lens of my human based consciousness upon them. Even with entities like the Goetia who could be argued to have an anthropomorphized form, it's important to recognize that they are likely taking that form because it is expected of them or because they recognize its the easiest way for us to conceptually understand them. One problem with such imagery is that it can create a false impression of an entity. For example, modern day imagery around angels usually involves a human shaped being with wings on its back. Sometimes you'll even see cute baby angels with smiling faces. However, if you've had contact with an angel, such an image bears little truth to the reality of the angel and holding onto such an image allows us to only connect with the angel on a superficial level (if we connect with it at all).

If, on the other hand, we recognize that our perspectives and awareness of entities are limited we can open ourselves to experiencing them more directly. This can have its own dangers. My own experience of working with angels hasn't typically involved the modern day imagery, but rather has involved feeling their presence. When I feel the presence of an angel I feel its force, its function...in other words I feel what it embodies and does for the universe and my relevance to that entity is very minuscule, based on a criteria which essentially asks: "Is this encounter relevant to my function?" If the answer is no, then the angel isn't going to waste time on me. If its yes, it'll put some time toward me, as it relates to the function it performs. The danger in such an experience is that if the person isn't ready to handle such an encounter it can throw them for a loop. In that sense, the safety that imagery and visualization provide is this: You have a less direct encounter with the actual presence of the entity and what it represents. That imagery provides a filter or screen of sorts, which helps your mind, energy, etc. process the experiences you have with the entity, whereas if you take a more direct approach, you are working with a more primal form of entity and this can be overwhelming if you are not used to doing such work. To work more directly with an entity involves allowing your subjective preconceptions and filters to fall away and open yourself to experience the feeling of the entity, the feeling of the force it embodies and represents. To do this carefully, I suggest gradually working toward that experience, as I share with an example below:

When I worked with the element of fire for a year, I gradually evolved my practice to move away from working with the associations and attributes used to describe fire, to working with fire as a direct primal force. The shift away from attributes and associations was useful because it allowed me to realize how much I'd anthropomorphized fire. When I didn't work with the anthropomorphic aspects of fire, I experienced fire as an element in a direct manner that was humbling (always a good thing imo) and allowed me to come away with a much more nuanced understanding of fire as a force of nature. I didn't think of fire in terms of sexuality, passion, or anger. I experienced fire as a force of heat, warmth, and destruction, as well as rebirth. However this process took the better part of a year to achieve. First I had to recognize the limitations of the imagery, associations, and attributes that usually went hand in hand with fire. Then I needed to open myself to working more directly with fire by asking if I could experience it as a raw primal force. I was cautious in making that request and what I did was work daily with fire via my meditations and other daily practices, but I would only allow myself to go so far as I felt I could handle what I was experiencing. If I felt the experience was too much I backed off from it and did appropriate banishing and aftercare. By taking such a gradual approach I was able to get comfortable with that raw experience of fire and consequently understand it in a different way that I'd not had access to before. I apply a similar approach to working with entities.

Let's bring this back to the equation part of this post with two thoughts to entertain. The first thought is this: What you put into the relationship with an entity is what you will get from the relationship with the entity. We can take that statement a number of different ways. For example, how we approach an entity shapes its interactions with us. If we approach an entity with fear, then it will undoubtedly recognize that fear and draw on it to shape the experience with you. Similarly if you approach the entity with respect, the entity will recognize that and factor it in accordingly. Similarly if we approach the entity with a specific image, attribute, or association in mind, it will respond to and use that image, association, or attribute (though not necessarily in ways we'd expect). Entities don't necessarily have a fixed form. They will appear in whatever way is most effective to work with you, and I'd argue they may also choose a more experiential model if that's appropriate for working with you. Likewise what you bring to the interaction influences what they bring to the interaction. If you give respect, you are more likely to get respect, but don't assume that will automatically happen and be aware, as best as possible, what you are bringing into the equation.

The second thought is this: An equation has a defined result. A relationship can also have a defined result. Be clear on what you really hope to get out of the interaction with the entity you are working with. If you are clear on your intentions and clear on the ideal result than it can help you determine if you should even contact the entity. In my magical work, in general, I always define the result. By defining the result I can determine what, if anything I need to employ. Defining the result doesn't guarantee you'll get the result, but it certainly makes it much to work with an entity because you can present it with what you are hoping to accomplish with its aid.

Finally, I suggest trying the non-anthropomorphic approach to working with entities. I find it to be more effective because it strips away the masks and allows you to work with the entity on an experiental level that is not always present when anthropomorphism is employed. While that direct experience brings its own risks with it, it also enables the magician to get a much better grasp of the entity, not only in relationship to the magician, but also in relationship to the universe.

 

Spirit Cord Experiments

spirit cord Since I took R. J. Stewart's class on the Spirit Cord, I've started reading his book on the topic and I've continued doing my own magical work with it.  Some interesting experiences have happened as I've worked with the cord. I've integrated my work with it into my daily practice, as part of my experimentation, but I've also worked with it in relationship to entity/spirits work and dream work and in each instance have found it quite useful. The spirit cord also has some applications for space/time magic, which I think will be useful in my continued work with that area of magic.

Daily Work - I've integrated the cord into my daily work, with a specific purpose in mind. When I do my daily meditations I wear the cord and I send part of the meditation into the cord, for the cord to remember. Specifically I send part of my altered state of consciousness into the cord, so that when I do the meditation the next time, I can call upon the remembered state of being to slip more easily and quickly into that state as I do the daily work. Each time I've done this I found that it has been quicker and easier to enter into specific states of awareness and consciousness associated with the daily work I do. I've done some of the daily work without the cord and noted that it doesn't come as quickly, taking the usual amount of time it would have prior to me using the cord.

Entity/Spirit Work - One of the ways the cord can be worked with involves utilizing it to make a stronger connection with spirit guides you are working with. I recently did some with a couple of entities and as part of that work I incorporated the bonding ritual that is used with the cord. I've found that doing so does seem to add an a dimension of connection because the cord essentially "remembers" the relationships you've forged with other beings. When I wear the cord in the midst of doing magical work with a given entity, I draw on the memory of the connection as well as the actual work I'm currently doing to re-connect with the entity and I've felt a stronger connection as a result.

Dream Work - I've taken to wearing the cord every other night when I sleep. I do one night on and one night for several reasons. First I want to determine if there is an actual difference in sleep and dream work experiences when I wear it vs when I don't wear it and secondly if there is such a difference I also want to consider the need for deep sleep vs dream work, as dream work doesn't necessarily provide as full a night of sleep as the body might need. So far, what I've discovered is when I wear the cord at night I have very vivid dreams and I can recall the dreams in the morning, whereas when I don't wear the cord, I don't typically remember the dreams or remember very little.

Space/Time Magic Work - The spirit cord operates on the principle of connection, but also of memory. Both principles are integrally tied to time and space. Memory is fairly obvious, in that the cord is used to remember states of being, entities, etc., but the connection principle also applies because is used to connect, to measure one distance from another, or one time to another. The cord also serves to establish continuity and keeps that continuity alive through its use and memory aspects. An interesting exercise that Stewart includes in the book is to attach the cord to a peg in the ground and then try to move with it. What you'll find is that you can move toward or away from the peg (which could be considered linear time) or you can move in a circle around the peg, which is a rhythmic and perhaps non-linear version of time. He actually suggests doing this in relationship to understanding time.

I'm still reading the book and working through the exercises, but I find that this practice has already enriched my ongoing work immeasurably. There's a lot I'm getting from doing this work as it relates to my own interests, but also doing the work as part of a magical tradition that I am integrating into my life. I look forward to sharing more as I continue to do the work and experiment with it.

My problem with demons

demon Recently Josephine McCarthy made a post about entities, including demons, which demonstrated a problem I have with how Western Occultism, particularly Western ceremonial magic traditions depict demons. In her post, she depicted demons as malignant entities that want to harm people. The problem with this depiction is that its based on Christian beliefs about what demons are and when magicians draw on that perspective about demons, what are they doing is drawing on Christian concepts to describe something. That alone should make any magician question whether its accurate or justified.

If we look at the word demon, we discover that its derived from the Greek word Daimon which originally meant spirit of wisdom. When Christianity came alone, the Christian leaders had a vested interest in depicting the spirits of other religious practices in a light that made those spirits seem evil or corrupt. Thus the word demon came along. And the medieval grimoires that discussed such entities depicted them in that way because the authors were Christian and knew they had to do so if they didn't want end up burned on the stake. Perhaps they even really believed what they wrote, but we need to critically question it, factoring in the political, religious and historical context that has been used to present the information.

In Western ceremonial magic, there is an uncritical acceptance of the word demon and the description used to define such beings. That uncritical acceptance leads to evocation practices where an entity is summoned and compelled to do something by calling on the names of other entities and threatening them with those entities. Now I don't know about you, but if I was coerced in that manner I'd be pretty unhappy about it too.

My own experiences with demons has never been negative. I do refer to them as Daimons, using the proper terminology. And I work with them. I don't coerce them into doing something they don't want to do. I don't strike bargains where I exchange my soul in exchange for material delights. What I do is develop relationships with them, much like I would with any other spiritual contact I make. And much like any such relationship, what I contribute and what they contribute defines the relationship. However I want to note I've never suffered any adverse effects as a result of working with Daimons. If anything, they've enriched my life and spiritual practices.

I think its high time the magical community recognizes that the word demon and all of its associated meanings comes to us from a religion that has demonized our practices. Do we really want that perspective in our magical practice? Do we even need it? In my opinion, we don't and I find that its counter-productive to getting effective magical work done.

Edit: Josephine published another article on her blog where she clarified her perspective and did a great job of defining the magical work involved.

I'm on the cover of Portal Magazine

Portal magazine pic Portal magazine recently published their latest issue and look who is on the cover!!! My article is on how to listen to the universe, basically honing your intuition and other such skills. You can pick up a copy here.

I normally don't publish a post specifically about something I've written for a magazine, but getting my mug on the cover was a justifiable reason to do it.

 

 

Some thoughts on teaching magic and where money fits into it all

moneymagic Recently I came across this post by Josephine McCarthy about Magic and Money. She had some interesting points to make about teaching classes on magic and how when money is brought into the equation it changes the dynamic. In particular she noted that some magicians try to make teaching classes their main income stream (which imo isn't a very good business model as I'll explain further below) and that the material they teach sometimes ends up being modified in order to please the student (a bad idea in my book) or modified to be more commercially viable.

I have started teaching weekend intensives, so when I read this post it gave me a lot to think about. I'm just starting out, designing my classes and putting a lot of thought into what I'll teach and how I'll teach it. Above all I'm mindful that what I teach is something that could have a deep effect on the people choosing to learn from me so I know I need to be prepared to guide them carefully, while also encouraging them to experiment (which is my preferred approach to magic). I've written a number of books on magic and I have taught smaller classes. I've even developed a correspondence course, which thus far has seemed to have been beneficial for all the people taking it. Still I know that as a teacher I'm taking on a responsibility to my students that is significant and must always be considered. I'm also taking on a responsibility to the material I'm teaching because its something which needs to be accurately conveyed.

I don't think that teaching classes is the most effective business model out there, which is why it's not my main stream of income (and likely never will be). Much like writing a book, the monetary return you get from teaching classes is not as significant as you might think. When you write a book, you have to factor in not only the time spend writing and promoting the book, but also the time spent researching for the book. The royalties you receive don't even begin to cover the amount of time spent writing the book. This is why its really important to be clear on why you are writing the book. You are writing it because you feel that you have a message you want to share. You feel a calling to write that book and you realize its more important to write it than not to. You also recognize that unless it becomes a bestseller you're unlikely to make back your investment of time and effort. The same applies to classes.

With a class you need to factor in time spent prepping class materials, as well as the cost of said materials. You also have to factor in the cost of the place you are renting, the cost of food and gas (and possibly lodging) the time spent traveling to and from the class, and the actual teaching of the class itself. And if you're like me and you believe in providing actual follow up teleconferences free of charge so that people can ask questions and check in with you about their experiences, then that's additional time that's being provided. As such the actual cost of a class doesn't necessarily net the amount of profit that you might think it would, especially if you also know that you can only teach to a certain class size and still effectively present the material. Of course there are ways to minimize some of these costs, especially with modern technology, but if you're like me and you actually prefer to teach face to face and perhaps also know that some things can only be conveyed in such settings then you are less likely to use such means to teach your classes.

I feel called to teach the classes I'm teaching. I know my classes aren't for everyone and that what I'm teaching will necessarily involve a certain level of experience on the part of potential students, especially with what I wish to teach. I know that I need to stay true to what I'm teaching because it's something I want people to be able to use to change their lives and to evolve as spiritual and human beings. I do feel justified in charging for my classes because of all the costs I've mentioned. It's not the best model for bringing in income, which is why I have a few other income streams, but what that income allows me to do is cover the costs of teaching the classes, presenting at conferences, and travel without dipping into my main income stream which goes toward paying bills. I believe that the cost is an equivalent exchange for my services, an energetic exchange if you will.

Teaching classes isn't really about the money. The money covers the costs involved to go and teach those classes, but what teaching the classes is about is being able to share specific information, concepts, and practices with people that want to learn those practices. Of course they can pick my books up and read them, but at a certain point, if you want to go deeper it can be useful to have that face to face connection. I myself am taking classes from a spiritual mentor which I think is well worth the cost because what I am getting from the direct experience is something that is much deeper than just reading the books would have provided. It is important to me that I also provide that same depth to my students. I want to honor their needs, but also honor the teachings I share so that what they get is something which authentically conveys the deeper mysteries while also honoring their journey in this world and all others they touch.

Book Review: Fans, Bloggers, and Gamers: Exploring Participatory Culture by Henry Jenkins

This is a collection of articles from Henry Jenkins, over the span of his career as a media academic. Some of the articles are good, others are less impressive, but overall he provides the reader some for thought about the evolution of pop culture studies and pop culture in general. This is a useful book for exploring some of what pop culture studies is about and providing some context as to how the academic study of pop culture has evolved as pop culture and technology have involved. It's limitation beyond the fact that it's a collection of articles, is that some of the material can already be found in the author's other works in a more comprehensive form.

Function is a lot like conjunction junction in magic

conjunction junction I recently wrote a post about function and its role in magic. In it I defined function: "A function, in and of itself, describes a specific action that is supposed to occur within a process as well as why it occurs in the process in way it does." I also explained that function, as it relates to spirits, describes the essence of those spirits and what they are supposed to do. Some of the responses I got to the post asked me to go into a deeper explanation of function and how its supposed to work in magic and that got me to thinking about function and what came up initially as a way to explain function is the old school house rock tune "Conjunction Function, What's your function?" If you've never watched it, you should watch it because it's just that awesome. If you watch that video, it actually explains the concept of function quite nicely, but I'm still going to explain it in my own way as well.

The first thing I'd note about functions is that to some degree they are subjective. You use a function to describe an action and how it ought to work. Functions can also be likened to the attributes you associate with a component of magic, again with the understanding that the attribute, as a function, is describing how the component ought to work or how it ought represent a principle of magic.

The second thing I'd note about a function is that its a connector. Functions are specific actions, which when executed lead to other functions which perform specific actions and so and so forth...get the picture? Basically a function connects to another function when executed properly. And if it isn't executed properly nothing happens. Usually when a function isn't executed properly its because the people doing it don't understand why they are doing it or don't have a clear understanding of the principles involved. In my experience, to make a function, you have to understand why you are doing what you are doing and understand the principles involved. That lack of understanding translates into what you are doing and sabotages the working. Let's provide a specific example or two that helps demonstrate function.

One of my recent workings involved invoking Vinea, a Goetic Daimon. I was doing this invocation to make initial contact with him so that I can do further work with him in the future. Here's what happened. Step one: I briefly look over his name and sigil, to memorize the sigil and to make sure I know how to pronounce his name. The functions at work in this step are memorization (which will lead to another function) and Pronunciation (which will lead to another function). Both of these functions are the foundational functions used to set up the initial ground work of the invocation. Each function performs a specific action. Memorization imprints the sigil into my mind to be recalled when I need it, while pronunciation allows me to learn how to say the name for when I do my invocation chant.

Step 2: I lay down and get comfortable with my head against a pillow. I close my eyes and visualize the sigil, and mentally I say Vinea's name three times. The functions at work in this step are relaxation, visualization, and mental chanting of the name. Relaxation performs the action of getting you into a space where you aren't focused on your body so you can actually focus mentally and spiritually on connecting with the entity. Visualization performs the action of recalling the sigil and using it as a visual marker to focus on connecting with the entity. The mental chanting performs the action of building up your energy, while also creating a an auditory link between you and the entity. Think of it as providing a path to connect you and the entity to each other.

Step 3: I whisper Vinea's name three times, then I say it louder 3 times, louder again 3 times, then I shout it 3 times. While saying his name, the sigil turns into a shape that is representative of him. The functions at work in this step are sonic chanting and visualization. Sonic chanting as a function builds on the initial auditory link you created with the mental chanting. It increases the resonance of the connection, establishing a way for the entity's energy to connect with yours through the pronunciation of the name. The visualization as function builds off the previous use, but in this case is also an indicator that the entity is connecting because he's choosing to appear to you in place of the sigil.

Step 4: I commune with Vinea. We essentially have a conversation which involves an exchange of images and words, as well as coming to an agreement (if we can) of how we'll work together and what we'll do for each other. The function in this step is the communion. It's a function that occurs on both ends and requires both parties to participate.

Step 5: Assuming an agreement is made I follow through on my end by doing agreed upon actions and Vinea follows through on his end. I won't spell out the functions here because this step occurs after the invocation has happened, but I mention it as an example of how functions lead into other functions past the actual working.

So as you can see functions are a lot like conjunction junction. They make connections. One function leads to another, which leads to another, and everything is pull together to produce a process that works. That process makes the magic happen, as long as you understand the functions and what they ought to do or rewrite them to work the way you think they ought to work (but that's another post altogether).

Here's a link to my recent radio interview with Mainstreet Radio about Wealth Magic and my newest book.

Call for Papers for Pagan Leadership: An anthology on Group Dynamics, Healthy Boundaries, and Community Activism

E-mail for inquiries and submissions:  Shauna Aura Knight ; please put “Immanion Press Leadership 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 Pagan Leadership: An anthology on Group Dynamics, Healthy Boundaries, and Community Activism

Deadline for submissions: September 1 2014.

The words “Pagan Leadership” are often met with scorn and tales of failed groups and so-called Witch Wars. And yet, as our communities grow and mature, we find ourselves in dire need of healthy, ethical leaders. Anyone who has been in a group that said, “Let’s just not have any leaders or power issues,” has seen what doesn’t work. But what does?

This anthology will explore leadership for real Pagans and real groups. We’re looking for essays and articles that detail leadership success stories, best practices, and ways you have worked through challenges and obstacles. Our specific focus is on techniques to help Pagans build healthier, stronger, and more sustainable groups and communities. We’d like to see a combination of hands-on how-to, personally-inspired, and academic pieces that will offer readers tools they can use in their own groups.

What resources do you have now that you wish you’d had when you stepped into leadership? What problems have you faced and overcome? How have you faced the unique difficulties of grassroots Pagan leadership? What are tools and techniques that have worked? Essays and articles should be 1500-4,000 words.

We’re also looking for brief (500-1000 words) personal stories of what we might call leadership disasters—community blow-ups that you’ve personally witnessed or even mistakes you’ve made as a leader. With few exceptions, these would be published anonymously (not naming names/locations) in order to illustrate, through the personal voice of storytelling, the need for leadership education through the power of storytelling. These stories do not need to be formally written; they should simply tell a story about problems you experienced that caused a group to blow up. Note: We prefer shorter pieces for this, but up to 2,000 words might work.

What we are not looking for:

We are not looking for spells or rituals. We’d also prefer to not see generalized advice, like “leaders should delegate,” but rather, “Here’s how I learned to delegate in my group” or “here’s how a team I was part of successfully handled delegation.”

Here are some suggested topics to give you an idea of the focus of this anthology:

  • Planning a successful Pagan event, or running a successful coven or circle, or—how those involve different leadership processes
  • Skills to build community from the ground up, and skills to sustain a community long-term
  • Organizational leadership techniques
  • Transformational leadership and servant leadership
  • Experiences with Pagan unity councils or other collaborative work between groups
  • Dealing with local Pagan politics, including dealing with difficult, mentally ill, or abusive local leaders
  • Dealing with difficult and disruptive group members, spotting predatory practices, red flags
  • Gossip, bickering, rumors, and triangulation, ego and egotism, conflict resolution and personality conflicts
  • Communication skills and techniques
  • Personal work and self transformation required to be a leader, boundaries, dealing with personal burnout
  • Administrative aspects of leadership, leadership structures like bylaws, mission statements
  • Handling money in your group
  • Ethics of leadership
  • Delegation and dealing with volunteers dropping the ball
  • Keeping people motivated, empowering group members and new leaders, passing on the reigns of leadership
  • Creating a safe space
  • Different leadership models (consensus, hierarchy, rotating leadership, democracy)
  • Facing a leadership disaster/crisis

Submission Deadline is ____. Articles should be 1500-4000 words, although if your work falls outside those limits, do submit it – we can discuss this during the editing process. Personal experience essays should be 300-2,000 words. Drop us an email if you are unsure whether your idea fits into the content. The sooner you start the communication process the better, as after the deadline we won’t be considering additional ideas.

Do write in your voice! If you’re academically inclined or trained, feel free to be as intelligent and technical as you like, and writing in the first person is fine as well. These drafts will be edited in a back-and-forth process with the editor. If your essay is not accepted for the anthology, we will tell you after the first round of edits.

Essay requirements:

  • Citations for all quoted, paraphrased, or otherwise unoriginal material
  • Bibliography of works cited
  • Prefer the Modern Language Association (MLA) Style http://www.library.cornell.edu/resrch/citmanage/mla
  • Send the file in RTF format

Compensation:

Accepted contributors will receive a free copy of the anthology when it is published and additional copies sold at 40% off the cover price to contributors. All contributors will be provided with a contract upon final acceptance of their essays.

Rights:

This anthology will take nonexclusive first world rights for 6 months.

Editors: The anthology will be edited by Shauna Aura Knight and Taylor Ellwood:

Shauna Aura Knight is an artist, author, community leader, presenter, and spiritual seeker who travels nationally speaking on the transformative arts of ritual, community leadership, and personal growth. She is the author of several books including The Leader Within and Ritual Facilitation. She’s a columnist on ritual techniques for Circle Magazine and writes frequent articles and blogs on the topic of Pagan leadership, and her writing also appears in several Pagan anthologies. You can find her site at: http://www.shaunaauraknight.com/books  and her leadership blog at: http://shaunaaura.wordpress.com and her email address for this anthology is ShaunaAura@gmail.com

Taylor Ellwood is the author of Pop Culture Magick, Magical Identity, and other books on magic. He is also the managing non-fiction editor of Immanion Press. He can be found online at http://magicalexperiments.com

Immanion Press is a small independent press based in the United Kingdom. Founded by author Storm Constantine, 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.

Narrative flow and magic

narrative flow I'm reading Making Comics by Scott McCloud. It's a fascinating book that explores how to write/draw comics, but of course there's also magical applications, if you're willing to look for them. For example he discusses comic book panels quite a bit and how the arrangement of them is used to shape the perceptions of the reader, but also how taking one or two panels out changes the story. And that got me thinking about how you could use panels as visual representations of magic and rearrange them or get rid of some or include new ones in order to explore potential time variants or to change a space and the identities associated with that space. According to McCloud you change the story when you remove a panel...and if you think about your own life as a story, then you can apply the same idea to the narrative of your life. Write out your life or create panels and then make some changes. It doesn't just change your perspective...it changes the experience of the narrative. 

One of the key points he makes is that you can direct the narrative...that what is paid attention to or what causes a distraction can be predicted and used in writing a comic. This is also true in writing. The way words are used and even the format of the text can set up pacing for the book. For example, if you use a lot of dialogue you're usually trying to move the narrative along. The same applies for action sequences. Now if you apply this to magic, think about why you are doing magic. You're typically doing it to make a connection, create a change, or work through your internal crap. Ask yourself how you are directing the narrative. What are you paying attention to and what aren't you paying attention to? What could you change that would allow you to discover what you aren't noticing?

I've only read the first chapter of this book, but what it reveals in terms of telling stories can be applied to magic precisely because magic is a story as well. A lot of the ritual work we do is done to tell a story as much as it's done for other reasons. We are using magic to act out the current situation and what we want to change and then imprinting that story on reality as a way to provide the specific possibility a path for manifestation. Seems simply enough, but the story aspect isn't considered in terms of a narrative that can be changed, unless we actually think along those lines. When you do a magical working or ritual, consider how you are putting it together. What are all the elements involved? What elements could you change, add, or remove and how would that change the story you are trying to tell? How would it change the working you are doing if the story is changed?

The narrative flow of a given magical working is an arrangement. You cut out what doesn't fit, and you put into place what does fit. Then you tie all those elements together and you tell a story to reality that embeds the possibility you desire into yourself as the magician and reality as the recipient. The result is a manifestation of magic. Pretty simple really, but its made complicated by the attachment people have to descriptive elements which are really just placeholders to describe something they represent. If you understand what's represented, you can get rid of the place holders and work directly with the source. Making Comics is actually an excellent example of that principle because while it overtly discusses how to create comics, if you treat it as a meta text, which I've done in this article, you can also use it to understand certain principles that cut across disciplines and you learn to work with those principles directly as a result, because you're getting to look behind the curtain and actually examine how those principles work. That look behind the curtain teaches you to think about and work with magic differently because you recognize so much of it is arbitrary, set up a certain way because of the given agendas of the people who came up with whatever they came up with. Once you recognize that, you stop relying on the arbitrary aspects of magic and start exploring what really works because you want to see behind the curtain. And IMO, that's really the best way to learn magic. No one, myself included, can tell you with complete authority how magic works, because we're all putting our own spin on it. That's why I tell people to personalize their understanding of magic. I can describe how I think magic works, how I know it works, but you have to discover for yourself how it works.

Book Review: What Video Games have to teach us about learning and literacy by James Paul Gee

This is an intriguing book that explores what video games can teach people about how we learn. The author develops 36 principles of learning which can be found in video games and shows through both personal experience and interviews with gamers how these principles work. In that process he also makes some interesting connections between identity, meaning and learning. What I found most useful about this book is how it got me to think about identity in a different way than I'd previously conceived it. Highly recommended to anyone who is interested in how we learn.

Elemental Balancing Ritual Month 17: Presence

Eros 2-20-14 I flew out today to Convocation. Last night and this morning I was a bit emotional. I miss Kat. I've gotten used to having her with me at events like this and this is one of those rare times where that's not the case. I'll see her in a few days, but it does make me appreciate just how much she has come to mean to me. As for Convocation...I flew in and discovered that the hotel didn't have shuttle service, so I needed to get a cab, so I wasn't thrilled with that. However I was able to get here just in time for my workshop on Space/Time Magic and I did a decent presentation of it. I feel it could've been better, but I also had just gotten in, was hungry, and I made it work despite all that. The convention itself is low key. The people are friendly, and it's not nearly as overwhelming as Pantheacon can be. And Glasolya-Labolas is looking out for me, which I really appreciate. It's good to have a spirit ally to back you up.

2-22-14 Convocation has been a fun experience. I definitely plan to come back next year and present again. I've had lovely conversations with Shauna Aura Knight about Pagan Leadership and Ritual Sonics. It's always nice to find people you can geek out with about topics of mutual interest. And speaking of that I've also had the pleasure of meeting Corvus Nocturem and discussing publishing with him. He owns a small press as well and we both found a lot to talk about and may even team up to do so presentations on publishing together. I've felt Glasolya-Labolas's presence throughout this convention, and at different times have gotten intuitions to go somewhere or talk with someone. Each time it's proven helpful and I've felt that I'm coming away from this convention with some new friends and allies. There is movement here and I'm excited to be part of it. At the same time I miss Kat. I look forward to seeing her when I fly home and catch up in person. While I appreciate her in general, being away from her has helped me appreciate her more.

2-23-14 I'm getting ready to leave convocation. This convention has themes based around the tarot. The one for this year was Judgement, and it seemed really apt to me because of the fact that I'd be running into several people here where things went South with those people. Nothing happened here...we ignored each other than having brief exchanges, but I also felt that this convention helped me face myself as well. I participated in a ritual that Shauna put together. I actually ended up invoking the Earth element and being one of the people holding a mirror and telling people to go deep and face their shadows. And I faced some of mine as well. I've always been my harshest critic, but something I've learned over the years is how to stop judging myself and how to start working with myself and at this convention I felt that come into play, both in my interactions with other people and my interactions with myself. I want to make good choices in my life and part of doing that is choosing not to judge myself, but instead work with what's at hand and make a choice based off that in a way that doesn't judge me, but instead validates me and the life I choose to live. More of a proactive approach really, instead of reacting, which I think is really what judgement is about.

2-26-14 The choice not to move, not to take action, can be just as potent a form of movement as anything itself. I also feel it can be a declaration of choosing to be present with yourself. It's something I've been contemplating since I've gotten back from Convocation. I've also been thinking about the concept of the meta-processor, someone who processes multiple streams of information simultaneously. I'm a meta-processor, which is usually good, but I do feel a bit overwhelmed of late because my life is a bit too busy for my liking. It'll be slowing down soon, and this makes me appreciate that the speed of movement is not in and of itself always a good thing.

3-3-14 This last weekend I attended the Spirit Cord workshop. I shared most of my experiences in this post, but some of I decided to post here because of its relevance to my work. I feel that the cord work is very relevant to my current work with my very young self as a baby and pre-baby. I'm doing some intense internal work around those early memories and also I feel going through a cycle that prepares me for my 38th birthday when I move into Stillness and into the exact natal position my astrological chart was in when I was born. In the workshop R. J. mentioned that the cord goes through the center of the spindle of a person's natal chart. He also mentioned that the cord has correlations to the umbilical cord, which makes sense given the life and death aspects of the spirit cord. This is something I hope to explore in more depth down the line, as I work with my spirit cord further.

3-8-14 I've fallen off the wagon with exercise. I haven't been consistent about it at all. I know I need to do something about it, but I think I've been feeling so overwhelmed by all the various projects on my plate, I've just put it off. That's not good for me to do because it's taking an essential part of my life and putting on the shelf. So I acknowledge this and I know I need to get back on the wagon regardless of how much else I need to do.

3-12-14 In the last few days I've gotten back on the wagon and found to my pleasant surprise that my body has still stayed in the shape it was in overall despite some infrequent exercising. However, choosing to exercise regularly already makes me feel better. It's amazing how even getting back into a routine can make a difference about how you feel about yourself. It highlights to me just how important this activity is to my overall well being. No matter how busy I get I need to make sure I stay present with myself and with the movement that is best for me.

3-13-14 I'm heading off to Paganicon tomorrow. I'll be working with Glasolya-Labolas again and Kat will be with me, which I'm happy about. I feel like this month is passing in a blur of movement, as if everything is speeding up. I'm not sure if it's because of how much traveling I'm doing, or if it's just because of the work I'm doing with the element of movement. Either way movement is happening, in so many positive, wonderful ways.

3-17-14 I'm back from Paganicon. This entire month feels like its just flown by in a blur. It make me wonder if I've really been as present with it as I hoped. I did work with Glasolya-Labolas again and at this event I unexpectedly found a bunch of familiar faces, as well as the right encounters that needed to happen. Glasolya-Labolas is quite the diplomat and quite the coordinator of schedules. I look forward to working with him further and am quite impressed with his skills.

I feel like my understanding of movement is changing even further. There is always a rhythm to movement even if we don't always perceive it. I feel that rhythm at work and it shows up in both obvious and subtle ways. The obvious ways is all the traveling and the fact that both businesses seem to be taking off, but the less obvious ways show up in my interactions with specific people or how I experience a given day. Everything is moving and I am part of that movement, moved even as I move it.

3-18-14 Donald Michael Kraig is dead. I only met him a couple times and we never exchanged more than a hello. I read both of his books and found them to be helpful in my own practice. A lot of people were clearly touched by his death and made a response to it on their Facebook pages. Seeing that made me think that at some point all of us die. I know I will die some day. Hopefully it'll be a long time from now, but regardless of when it happens, I'll die and most people won't care, a few people may be happy at my demise, and some will feel sad and acknowledge that I had some type of effect on their life. I'll move from this life onto another life or the void, or whatever and life will go on without me.  Nothing is forever, but everything continues on. I hope Donald Michael Kraig is resting in peace and moving on to whatever next adventure finds it way to his path.

3-20-14 I dislike passive aggressiveness in people, myself included. I know I'm guilty of it on occasion, and I think most, if not all, people are. It's a way to mask how you feel about someone, to smile, but if you look closely at that smile, it's really a snarl. It's a way to pretend friendliness when what you really want to do is stab a knife in the person's back. However in the last few years, I've worked hard to get passive aggressive people out of my life and to make sure I'm not being that way, because why would I really want someone close to my life who pretends friendliness but wants to hurt me? I realize that doing this also extends to online mediums such as Facebook. I don't need people trying to impede my movement in life. I figure I do that enough for myself on occasion, so I'm really being present and asking myself why I'd really want to be connected with people I know wish me harm, no matter how much they act otherwise. Connection of any form lets such people in and says I condone your hostility toward me. Obviously I can't assume that I know the intentions of every person that comes into my life or makes a friend request on an online medium, but when I do know someone who has a history of being hostile toward me I also should know better then to allow that person any connection with me, because as soon as that person sees an opportunity, out comes the knife. I consider the lesson learned today, when it comes to online mediums. I need to honor my choice not to put up with behavior from people that I know is counter productive for me. I want the right connections, right people in my life and I won't find that with someone who wants to tear me down because of their own insecurities and issues.

Bringing Race to the Table Call for Papers deadline Extended

Email for inquiries and submissionsCrystal Blanton Megalithica Books, an imprint of Immanion Press (Stafford, U.K./Portland, OR, U.S.A) is seeking submissions for the Bring Race to the Table: An Exploration of Racism in the Pagan Community.

This anthology explores the topic of Racism and how Racism shows up in the Pagan community, as well as what we can do to recognize it and proactively work to change it by being consciously aware of race and privilege and actively applying that awareness to the Pagan community. We also examine cultural appropriation and its role in racism, and how we can approach issues of culture with conscious awareness that leads to genuine cultural exchanges instead of appropriation.

The vision for this anthology is to include a combination of academic and personally inspired pieces that show the experiences of racism, and the study of racism.

Here are some suggested topics to give you an idea of the focus of this anthology:

  • Your experience of racism and how it has impacted your ability to integrate into the Pagan community
  • Cultural Appropriation versus Cultural Exchange
  • How to recognize and confront Racism in your spiritual community.
  • Being an ally within the Pagan community for people of color.
  • Intersectionality of privilege, or examples of this within the community.
  • Experiences of a lack of cultural empathy, or sensitivity within Pagan groups, and how that impacts safe place for ethnic minorities.
  • Understanding how symbolism within Paganism reinforces racism and separation of diversity within Pagan groups.
  • Is preserving the lineage of hereditary practices and/or cultures racist? When is it not racist and what defines inclusion or exclusion in such cases?
  • How white power gangs are trying to infiltrate the Pagan community?
  • Definitions, understanding or experiences of symbolic, adversive, or systemic racism within the Pagan community.
  • Stereotypes and prejudice and the impact on spiritual or magic workings. Being the only person of color in a coven, group or community
  • Being a person of color at a pagan convention (and how convention organizers can be more conscious of this).
  • How Racism harms the Pagan Community, and how it shows up in the Pagan Community
  • How, as a community and as individuals, can we increase awareness of potentially harmful racial dynamics and proactively work to engage positive change.
  • What is equity and how does it show up in the Pagan Community practically (what are examples of how equity has been or can be applied to the Pagan community)

Rough drafts are due April 15, 2014. These drafts will be edited in a back-and-forth process with the editors. Essays should be 1500-4000 words, although if your work falls outside those limits, do submit it – we can discuss this during the editing process. Drop us an email if you are unsure whether your idea fits into the content. The sooner you start the communication process the better, as after the deadline we won’t be considering additional ideas.

Essay requirements:

• Citations for all quoted, paraphrased, or otherwise unoriginal material • Bibliography of works cited • Prefer APA format

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 talks in the first person about your own experience, please include this also. There is a wide range of voices, and we are interested in being as inclusive of style as possible.

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

The anthology will be edited by Crystal Blanton, Brandy Williams, and Taylor Ellwood. Crystal is the author of two books with Immanion press; Bridging the Gap; Working Within the Dynamics of Pagan Groups and Society, and Pain and Faith in a Wiccan World.  She is also the editor of the first anthology, Shades of Faith; Minority Voices in Paganism, and the forthcoming anthology, Shades of Ritual; Minority Voices in Practice. She may be found online at http://www.crystalblanton.org and her email address for this anthology is crystal@crystalblanton.com .

Brandy Williams is the author of Ecstatic Ritual (published by Immanion Press), Practical Magic for Beginners and The Woman Magician (published by Llewellyn) as well as the editor of Women’s Voices in Magic (published by Immanion Press). She may be found online at http://www.brandywilliams.org

Taylor Ellwood is the author of Pop Culture Magick, Magical Identity, and other books on magic. He is also the managing non-fiction editor of Immanion Press. He can be found online at http://magicalexperiments.com

Immanion Press is a small independent press based in the United Kingdom. Founded by author Storm Constantine, 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.

- See more at: http://magicalexperiments.com/call-for-writers-bringing-race-to-the-table-an-exploration-of-racism-in-the-pagan-community/#sthash.QgBuUmrs.dpuf

How to Design your life with magic

  sigil experiment

 

In Manifesting Wealth, I discuss the importance of creating a wealth identity. Part of that process involves making the decision to live your life by design instead of by reaction. Living a life by design involves planning your life, which to my mind really means that you figure out what you really want and then decide how you'll go about getting it. For example, I realized in my mid twenties that I wanted to be self-employed by my thirties and here I am self-employed. I didn't necessarily plan out every step of the way to get to that point, but nonetheless I did decide to make self-employment part of the pattern of my life.

These days I'm more methodical about designing my life. Part of that undoubtedly comes from being a business coach. I help businesses plan their businesses by design instead of reaction and that consequently informs my own decision to plan my life. However, part of my reasoning comes down to the simple fact that I've made enough mistakes in my life based on impulsive decisions and reactions, that I've come to recognize that its much more effective to live a life by design and to carefully examine my choices and ask: "Is this really in line with what I want for my life?"

Where magic fits into all of this involves approaching your life as a narrative and using magic to help you shape that narrative. In my case, this means that a lot of my magical workings are done in context to my life, and how whatever occurs fits into the design I am manifesting. I don't do magical workings to solve problems, s much as I do them to proactively pave a path that is beneficial to me. A good example of this concept in action involves the creation of an entity called Cerontis. I created Cerontis over ten years ago with the explicit purpose of making me aware of opportunities I might want to take advantage of. Simple enough, but also profound because what it really involved was utilizing his services to help me discover opportunities proactively instead of reactively letting them happen to me.

When you design your life by magic what you are really doing is using magic as a tool to help you make intentional choices that fit into your design. A lot of my wealth magic work has been focused on helping me become more successful at working on my business, because I feel that its an integral part of the design of my life. While I certainly want to make a living from my business (and increasingly this is happening) I realize to effectively do this I need to design my business and really design my life around having experiences that will simultaneously teach me the skills I need to learn and help me implement those skills in a practical way that allows me to use them.

Look at your own life. Where do you want to be? what do you want to do? Who do you want in your life? Answer those questions and you've started to create your design. Now start doing magic to actually bring what you want into your life and do it with a mentality of design. Ask yourself: "Does this really help me manifest my design?" If it does, then do it...and if it doesn't, re-evaluate your magical working or your design or both. By taking such an approach you develop a proactive awareness that allows you to implement your design and live your life by your standards instead of continually reacting to whatever comes your way. You learn to filter out what you don't need and so you start to avoid it in favor of living your life by design and your magical work is geared in a similar way and thus helps you keep your life on track as well.

I was on the show Pleasure Saucer, where we discussed magic as well as some contemporary news. It was a fascinating range of topics.

Book Review: When: The Art of Perfect Timing by Stuart Albert

This is an intriguing book that explores how to apply timing to business and life experiences in order to better understand the flow of events and be able to plan for them and their pacing in time. The author shares six types of timing and provides examples of how these types of timing can be applied to understand the temporal aspects of a given activity. In addition, he nicely ties all of the types together and shows how a timing analysis can be done using each type of timing in conjunction with others. If there is one weakness in this book, its that while the author does provide examples of timing, he doesn't show readers how to use that knowledge practically beyond being able to do a timing analysis. However this book can teach you to appreciate time from an unusual perspective and that, in and of itself can be useful for looking at your life, business, and other practices from a different angle than you may have done before.

The Role of Function in Magic

Process In my post on Tarot collage work, I mentioned that the word and concept of function plays an important on magic, but that I'd explain it in a later post. So here we are. The reason the word function is important as it relates to magic is severalfold. A function, in and of itself, describes a specific action that is supposed to occur within a process as well as why it occurs in the process in way it does. Function, in magic, also speaks to how spiritual entities are supposed to behave. For example, angels are defined by the functions they perform. Those functions are the actions the angels perform, as well as their area of responsibility, but in another sense the function is also the soul of the angel. This understanding of function can be applied to other "types" of spiritual entities as well.

When we consider function in relationship to process, what we discover is that function is what moves process along. A process that isn't working is usually not working because specific functions of the process aren't being activated or don't work the way they should. Without the right functions in place, a process fizzles. So how do you make sure you have the right functions in place? First you have to understand the process and where those functions fit into the process. For example if lighting a candle is a function in your magical process, what is it that function does? How does that function contribute to the process and move it along? What happens if that particular function isn't activated?

Likewise if you are working with an entity, it's worth while to consider how you are interacting with the function it embodies. That entity can't go against its function, so you pretty much need to be in alignment with that function. There's some wiggle room in my experience, but that wiggle room has more to do with interpretation of the function than actually getting around it. This is why its important to be selective about what entity you'll work with, or if you're creating one be very specific about the function its supposed to embody.

Although function sounds restrictive, it really isn't if you understand it. The given functions are restricted in terms of what they do, but where the magic really happens is when you combine multiple functions into a sequence that creates your process and produces a result. If you understand how each functions work off each other, then you can plan for which functions you'll use and optimize your magical working. One of the ways I like to optimize my workings is to thoroughly explore the functions I'm using to see what they can and can't do. Then I know where and when to apply them in whatever magical work I'm doing. This understanding of function makes it easier to find problems in the process as well and then fix those problems. A lot of times it boils down to: "This function doesn't work in relationship to this other function."

This probably comes across as a mechanistic approach to magic, but I don't think it is. If anything I feel that it helps me appreciate magic on a much deeper level because I can understand how and why it works and know what to change in order to improve on what I'm doing. I like that and at the same time it gives me a deep appreciation for the wonder of magic because it never ceases to cause me to feel wonder to see a process come together and produce a specific result.

Collage tarot cards as enchantment workings

Shaunaart Shauna Aura Knight recently made a post about creating your own tarot cards using collage. It's an intriguing idea, and her methodology is useful as a way of doing some deep work with Tarot that nonetheless allows you to create a personal connection with a given card through not only the act of creation, but also meaningful pathworking done with the collage to get at the heart of the meaning of the Tarot card (Note: the image for this post is a collage tarot card that Shauna created and I'm using it with her permission).

One of the other uses of this technique is that it could also act as a form of enchantment. In the capacity of enchantment, the creation of a collage tarot card would be focused on not just helping the person understand the meaning of the card as it relates to his/her own internal work, but also understand the card as it relates to the world, and specifically to what function the card is supposed to embody to the world at large. I think the word function is critical here, in understanding the purpose of the Tarot card. Actually, I find the word function is critical in understanding magic generally, but that's a post for another day. Anyway, the tarot card you create via collage will be one that fits a particular function. That function is partially derived from the card itself. For example if the card is two of swords, then part of the function of the card is derived from being the two of swords, but part of the function is also derived by your understanding of what that function is and how it applies to the world at large. So a question to ask would be: "What does the Two of Sowrds mean to me and how does that meaning function in my life and in the world at large.

What makes Tarot cards useful is the relationship the cards have with each other. While the 2 of swords has its own meaning, context, and function, all of that changes in relationship to other cards. What the 2 of swords means and how it functions is altered in part by the combination of other cards. For the magician this is useful as a form of enchantment, because what s/he does is pick out the relevant tarot cards and line them up to produce specific outcomes. The functions of the cards interact with each other to modify the enchantment and produce a specific result that occurs because of the functions the cards embody and perform when used for enchantment.

When I do a tarot working for enchantment, it works in the following manner: I shuffle the cards and then start pulling cards out. I don't set them up into a spread right away, until I've pulled all the ones I need to pull. Once I'm satisfied I then arrange the cards into a spread that connects each card to the other cards and creates a sequence of functions that perform the enchantment. To activate the enchantment, I read the cards and through the act of reading, simultaneously internalize the cards, imprinting them and their functions into my consciousness so that I can embody them, and externalize the cards by evoking their functions into the world in order to start aligning the variables effecting the enchantment. Approaching enchantment in this way insures that the internal beliefs and values of the magician is aligned with the objective reality s/he is seeking to manifest. I find that it creates a path of least resistance, if you will. If you choose to make collage tarot cards, then you can add in the creation of the cards as part of the enchantment. The creation of the card can be understood to be a gathering of the meaning/function of the tarot as well as the creative force of the magician, with the end result being a personalized card that uniquely represents the function of the card.

What I like about using Tarot cards for enchantment purposes is that they can help the magician make logical sense of the enchantment. The spread is used to create a sequence of steps/functions that generate specific actions, which in turn generate specific outcomes. That's how magic works, in my experience. You create or follow a process you understand and you use that process to program a specific result into reality. It's so simple that it might cause a person to struggle with it, but why make magic more complicated than it needs to be?

The Role of Timing in Space/Time Magic

Spidertime I'm reading When: The Art of Perfect Timing by Stuart Albert. It's an intriguing book that explores the concept of timing and how it applies to the business world. He identifies 6 different types of timing that can be applied to business or life. Each of these types of timing can be applied to space/time magic as well, provided we understand them and how they can be used in magical work. The concept of timing is important in magic because when we do a working we don't always want it to manifest right away, or we want it to manifest it right away and in order to do that we need the timing to be applied in order to align the variables favorably and manifest the possibility into reality.

The first type of timing is: Sequence. I wrote about sequence in Magical Identity as a useful tool that allows your linear perspective of time to accept non-linear possibilities. Sequence simply demonstrates the temporal order of events, but what's important to note about sequence is that it can be changed and rearranged provided you create consistency in your sequence which allows the linear consciousness of your min to accept the new sequence. Sequence examines the order, interval and duration and location, and helps you consider these variables in your space/time workings. Knowing where and when you need to be somewhere or where and when something needs to occur is important in the timing of your working. Similarly understanding how long a given action in the sequence occurs can helpful for considering variables that can either change that action or change the length of time needed for it to be accomplished.

The second type of timing is: Temporal Punctuation and borrows from the grammatical aspects of language. If you consider punctuation in English for example, you know that a comma, colon, and period each signify different temporal actions. This awareness of punctuation can be applied to the timing of your workings. For example if you want to pause the timing for an event to occur, apply a comma to the working. If you want a specific list of actions to occur, use both the colon and the comma. If you want something to come to full stop, apply the period.

The third type of timing is: Interval and Duration. The intervals are used to measure time and actions within time. A application of them to space time magic asks how long until or how much time. Duration is the overall time needed for the working to occur and it can be useful to situate the intervals in the duration in order to factor in what needs to occur when in order to move a possibility into reality.

The fourth type of timing is: Rate. Rate examines how the environment changes in relationship to temporal events. The rate of speed for a given event can be effected by multiple variables and unless we understand those variables we may not fully see the whole picture as to why an event is unfolding slowly or quickly. We may even make assumptions about a series of events related to the speed with which they unfold, without recognizing that other variables are having an effect on the speed. Magically speaking we can influence the rate of a given event by understanding how to slow it down or speed it up as needed.

The fifth type of timing is: Shape. The shape of a temporal event is rarely a straight line, though we often fool ourselves into believing it is. If you examine the processes of a given organization you'll see the principle of shape in action in the form of bottle necks or in organizational bureaucracy. For space/time magicians, shape can be quite useful because it provides us a way to think about time which captures some of the hidden possibilities and realities of it. We step out of linear time and recognize how time isn't a straight line, but instead is often curved and effected by other variables that we didn't consider. Shape also helps us understand time in terms of changes. For example a helix shape is a cyclical shape that nonetheless shows a progression in time...useful for charting where we are in a cycle as well as what is changing in that cycle.

The sixth type of timing is: Polyphony. Polyphony is the comprehension and application of all the other types of timing simultaneously. I also think of it as polychronic time, which is the experience of multiple events and possibilities of time occurring in one space. Polyphony adds a vertical element to timing that allows us to more fully explore the possibilities and integrate them into reality. Polyphony allows us to understand how different temporal events overlap each other and provides us a way to explore and integrate variables into our magical working by charting where they are in relation to the possibility we want to manifest and the reality we want to manifest it in. Polyphony teaches us how to comprehend multiple possibilities in a given space and choose which ones are most favorable for our desired outcomes.

I feel that to one degree or another I use these various aspects of timing in my own magical work. I find that when you apply timing to magic, it makes the magical work more precise and focused. Instead of just doing a working and leaving it to the universe to manifest it, you set up the parameters for when it'll manifest and this consequently holds you more accountable to making the magic work, because you know that if certain things don't occur within your timing, you need to go back and figure out where n your process you mucked things up.