Vowel Magic

vowel In Music Power Harmony, R.J. Stewart makes an interesting observation about Vowels. He notes that the first sound that comes out of a person's mouth is always a vowel. You could say the letter Ks or Zs, but the sound of those letters is a vowel sound. The same actually applies to words. Say a given word and what you inevitably hear is a vowel sound. The vowel sound defines the rest of the words, connecting the consonants together in order to create the word. The vowel is at the heart of word magic, or as Burroughs might put it, its the nucleus of the word virus. The vowel is what we use to provide shape to the words, and in turn what gives the words the means to shape reality.

Stewart makes another intriguing point when he notes that we use sound to create a temporary pattern that expresses the fullness of the universe within the form of the word, attuning the word to universe and mediating the universe through the word. Burroughs made similar statement in some of his works on writing and the word. My own experiences with words has been one where I use words to start the path of manifesting a possibility into reality. A word turns a possibility into reality because it speaks that possibility into reality, makes it objective because it's not just in your head, but is a sound or is on paper. But the word is not just externalized. It is also internalized within the person, spoken within to align the person with the universe, even as it is sent out to the universe to align it with the person.

The sound of a word is not just a sound, but also a meaning. We invest the sound with meaning and articulate it for a variety of purposes that can ultimately be boiled down to one underlying purpose, namely the desire to change reality. Whether we are communicating, informing, educating, or expressing, what we are really seeking to do is create an experience with the words that changes something for us, both within and without. Recognizing this about words can help us appreciate their power and why we use them the way we do. The word speaks you. You speak the word. There is a relationship between the word and the person. That relationship is essential to the survival of both.

Words, by their formation, are a limitation of possibility. Words describe what reality could be, but also provide the necessary form to create that reality. For example, when I work with clients on their business, we put together a written business plan. The writing of the business plan focuses the client, turns the chaos of possibility into specific measurable actions, which in turn, lead to the manifestation of reality. I'd argue that words play the essential role of bridging possibility and reality. They provide form to possibility, while leaving enough possibility within them to let the person interpret and shape the meanings further before they become embodied into reality through the actions of the person. My own use of words is driven toward this kind of work, using them to forecast and shape the reality I'm stepping into, by providing enough focus that I can chart a path that then turns into action.

You might try the following experiment. Think of something you really want. Then write about it. Write about what you will do to achieve that result. Once the writing is done, seal it in envelope and put it away somewhere where you can find it, but don't open it until the the result manifests in your life. When it does manifest, look at the writing and compare what you wrote to what you actions you took. You'll probably find that the writing helped set the stage to manifest the desired result into reality.

Radio Interview: Go here to listen a live recording of my talk on Wealth Magic at the 2nd International Left Hand Path Conference.

Book Review: Fan CULTure: essays on Participatory Fandom in the 21st Century Edited by Kristin Barton and Jonathan Lampley

In this collection of essays, the authors share how fans interact with pop culture and corporations in order to keep their particular fan interests alive. There are three angles explored: Fan production, which shows how fans create content related to what love and how they get around potential corporate legal issues, the use of social media and how it effects fandom, and finally how fans influence the official content created by corporations. throughout all these essays, you'll get some fascinating insights into fan behavior and why fans do what they do as well as how it creates fan specific culture. Highly recommended if you are interested in pop culture studies or want to understand how fans effect pop culture production.

 

Deadline coming up soon: 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.

How to Identify identity Work you need to do

Magical-Identity- One of the most important aspects of identity work is the identification of problematic identities that you want to change. Some of these identifications are ones you will want to change entirely, while others will involve a change in perception. You'll also find that some identities can't be changed entirely, because they are part of your experiences, but what can be changed is how you choose to relate to that identity. This means that you can have a traumatic event occur which becomes part of your identity. You can't change that the traumatic event occurred...it's part of you, but what you can change is how you interact with that event, how you use it shape your identity and your place in the world. As simple as that sounds, such work can be hard, but if you are willing to do the work, the resultant changes are worth it because of you become empowered.

The identification of needed identity work involves paying close attention to those aspects of identity you'd rather avoid, or where you have tension and emotional blockages. For example, in American culture, the body is usually an identity aspect that people need to work with. The majority of Americans have unhealthy relationships with their bodies, which are not always examined from a place of identity. When identity is brought into the picture, an exploration of the body becomes a history of how you've interacted with your body, as well as what comes up for you in relationship to your body and how you've tried to change your body. All of these issues play a role in shaping your identity around your body and they can only be changed when you confront them head on and recognize them for what they are: unneeded definitions about what your body ought to be according to mainstream culture. Once you've recognized those definitions, you can then create your own definitions which speak to the identity you want to establish with your body. This typically leads to healthier interactions because you are choosing the identity instead of having it foisted on you.

One of the ways I identify identity work is through meditation. Part of the meditation work focuses on the unresolved tensions I feel within myself. As I meditate, I allow the internal energy to flow around the tension I feel, gradually dissolving it, and in that process revealing whatever is at the core of the tension. I can then work with that core and relate it to my identity to determine how it contributes to the identity formation I have. Once I understand that, I can do the necessary work of changing that core tension into something which helps my identity and the desired reality I seek to create.

In your own identity work, look for those areas of your life that bring up feelings of stress and tension. Do you dread going into work or cringe when checking your balance? Do you feel like you are walking on eggshells around people in your home? Do you find yourself doing an activity that isn't good for you, but you can't stop it? Spend some time paying close attention to your daily routines and whatever comes up for you while doing those routines. What you discover will provide you the necessary direction you need to move in, in order to start doing identity work. Embrace those areas of tension and stress, no matter how uncomfortable they might be. You can do meditation or some other magical work, but the focus of the work should be on helping you to understand how the stress/tension contributes to your identity, as well as how you can change your identity by addressing the stress and tension you feel.

Book Review: Fan Cultures by Matt Hill

The author explores fandom as a culture from the lens of religion, cult enthusiasm, and psychology. He offers an alternative perspective to the works of other pop culture studies academics. I found his insights about pop culture fandom and religion to be particularly fascinating. This book will give you a lot to consider about how fandom engages pop culture and makes it part of their lives, as well as what can be learned by exploring fandom from disciplines outside the norms of cultural studies. What I also found insightful was hit detailed exploration of the hierarchy of fan culture, which was useful for understanding how fan communities work. If you are interested in pop culture studies or pop culture in general, this is a good book to read.

The Process of Magic Class Round Ten starts in one week!

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Round Ten of the Process of Magic Class starts on August 6th.

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.Below is the syllabi for this course:

 

Lesson 1: An overview of the process of magic

 

Lesson 2: You and Definitions of Magic

 

Lesson 3: Results, Change, and their respective roles in magic

 

Lesson 4: The anatomy of the process of magic

 

Lesson 5: Culture, Ethics and Ideology

 

Lesson 6: What isn't essential to the process of magic

 

Lesson 7: Connection and its role in the magical process

 

Lesson 8: Intention, Attention, and Magic

 

Lesson 9: Inhibitory Actions and Magic

 

Lesson 10: Excitatory Actions and Magic

 

Lesson 11: Internal Work

 

Lesson 12: Spiritual allies and the magical process

 

Lesson 13: Invocation 1

 

Lesson 14: Invocation 2

 

Lesson 15: Evocation 1

 

Lesson 16: Evocation 2

 

Lesson 17: Divination

 

Lesson 18: Enchantment

 

Lesson 19: Astral Projection

 

Lesson 20: Banishing

 

Lesson 21: Attunement with the land

 

Lesson 22: The Role of Limitation in the Process of Magic

 

Lesson 23: The role of Transformation in the Process of Magic

 

Lesson 24: The role of Mundane actions in the Process of Magic

Plus Two Bonus Lessons!

To learn more and sign up, go here.

 

 

When Magic is only Mental

mental When I've taught the concepts of magical identity to different people, one of the questions that comes up is if magic is only mental in an ontological model. It's a fair question to ask, in the sense that the initial focus of the magical work involves becoming the magic. However the ontological model of magic isn't a psychological model, which means it goes much deeper than just a mental state. Becoming the magical act and result isn't just thinking about it. When I talk about directing the magic inward, as well as outward, what I'm really speaking to is a fundamental recognition that any magical act necessarily must change the practitioner as well as the world around the practitioner, in order to manifest a desired result. In other words, the magician must be willing to shift to a new state of being that allows for and embodies the desired result within as well as without. A purely mental model of magic wouldn't enable such work because it doesn't extend to the world around us, nor does it allow more than a surface level experience of the internalization of magic.

When magic is only mental, its not real. It's a thought, caught up in a swirl of other thoughts and emotions, transitory and illusive. And as a thought it's not even fully integrated with imagination, so much as it is caught up in the minutiae of the practitioner. I've never found a purely mental/psychological model of magic to be workable, because when its all in your head, it's solipsistic and self-obsessive. There is no real connection to the world and without that connection, magic becomes an act of deception and fantasy.

What makes magic work, in my experience, is the simultaneous crafting of the work inward within the magician and outward to the world. When the magic goes inward, it's not just effecting the mind of the magician, but connecting the magician to the inner contacts and spirit guides that are allies to the work the magician does. It is also going inward to the magician's connection with the universe, allowing the magician to change that connection. When the magic goes outward, it goes outward to the world around the magician, aligning the possibilities and variables into favorable outcomes that produce the desired result. By directing the magic inward, the magician becomes the desired result, while setting up the outside to create an environment that allows for the expression and full manifestation of that result.

Magic is lived...not just thought about. You live magic when you make it part of your life, part of who you are, as well as what you do. For me, what makes magic work is that I make it part of the expression of my life and recognize that the expression of my life is the extension of my being into this world. That extension allows me to interact with and change the world, even as in turn the world changes me through that interaction. When you live magic you become the change and its not mental, all in your head, but rather is lived through every layer of your being.

Book Review: Unseen Worlds and Practical Aspects of Spiritual Discernment by Anastacia Nutt

This book applies the concepts of spiritual discernment to psychic protection and shows the practitioner how to use spiritual discernment to recognize situations and people that aren't in alignment with the practitioner. The author provides some useful examples and exercises that the reader can use to apply spiritual discernment to their own practice. This is a useful book for beginning and advanced practitioners, as you will glean some gems of insight out of this text. The only downside to this text is that the author wrote it in two huge sections, instead of breaking it into chapters. However the various subheadings can be treated as mini-chapters for reading purposes. For any practitioner, the practices in this book will help them critically examine their relationships and spiritual practices with an eye toward discerning what is or isn't in alignment with them.

Elemental Balancing Ritual Movement Month 21: Responsibility

eros 6-20-14 When I was working with my spirit cord today, I felt it pulse and sync with my heart beat. It was quite an interesting experience and not something I'd previously felt in my work with the spirit cord. I also continued my work around regret. I dove in really deep today with that blockage that's by my navel, and I felt it continue to loosen up and as it did I experienced some memories and feelings about a couple of people and choices I'd made around those people. It was hard to feel those emotions, to be in those memories, but I let myself relax into them and as I did, I allowed myself to acknowledge and feel those emotions instead of avoiding them. I felt some sadness and a sense of responsibility that I had previously denied or tried to foist on someone else. Instead I chose to accept the responsibility. There's still work to do around it, but I felt taking that step was significant enough in its own right. 6-23-14 Regret is a form of fantasy, in some sense, and I find that as I delve into this work that some regrets turn into a sense of fantasy, a what if scenario. I realize such a scenario is a blockage, in and of itself, but it also an expression of the regret that can be worked through. So part of my dissolving work has involved working with the regret through the fantasy and using the fantasy to recognize certain realities that the regret doesn't factor in. One of the realizations I came away with is an awareness that I felt like I had to fit myself around another person and their issues and life as opposed to actively working on creating a true partnership. I felt this way multiple times with multiple people and that helped me look at the regret in a different light, because it showed me that the regret presented a filtered perspective. By doing the dissolving work it strips away the filter.

7-1-14 I've been continuing to meditate on regret and today I hit a realization about some of my choices earlier in my life that helped me understand that the reason I made those choices was because I was looking for something and fooling myself into thinking I could get it in the way I was pursuing it. Hindsight being 20-20 I eventually realized that my choices weren't providing me what I was looking for, but in meditating on those choices with the regret work, I was able to understand them in a different way that helped me find a sense of resolution about them I hadn't felt before. Working with regret in the way I've been working it has helped me see how the lack of closure creates regret but also how trying to meet a need can do the same. And when you do meet that need, you may still need to work with past issues in order to resolve those periods of time and occurrences in order to be fully present with the solution.

7-4-14 I'm feeling a bit frustrated lately. I'm having to change my event in Chicago into something else due to the lack of signups for the intensive. And it looks like my September event is encountering difficulties due to circumstances that originate with the place I'd be presenting at. What this continues to illustrate to me is that it may be more useful to invest in video and webinars for classes. While the initial cost might be high, the overall overhead would likely be low. After this month is over, I'm going to start doing some research into what other authors are doing...and this illustrates the importance of being adaptable, of being able to change movement as needed in order to go where you want to be.

7-8-14 I've been doing some work with Raphael, who is the Archangel of Hod. He's appeared to me as a doctor in a clinic, healing various people. He told me I needed to be open about my wounds if I wanted to find healing for them. Later on I talked with Kat and I admitted I was feeling depressed. A lot ended up coming out that helped me realize how much pressure I put on myself, but what really stood out to me was how hard it was for me to feel present with a part of myself that I identify myself as young boy. I think for men in general its hard to identify with the boy aspect of themselves. Part of this is because I think one of the immature images of men is men who never grow up, who essentially are still boys. However, I think that you can be a mature man and still connect with the boy within, but doing that easily...especially if that part of you has been so wounded...that's hard for me and sharing it with someone else is even harder.

7-12-14 I've been watching Neon Genesis Evangelion with Kat. It's been over 5 years since I last watched it. I've seen the series over 8 times. It's one of my favorite series and its also a cathartic series for me, because of the triggers and issues that come up in regards to my own relationship with my parents. However watching it this time around has been different. I've still felt some triggers and issues, but its different now, more muted. The internal work I've done has changed a lot of my reactions...its still a show that touches me, but it doesn't grab me in quite the same way. And I'm happy about that because as much as I like the show, it's good to know I've changed, that while it still touches me, it doesn't hit in quite the same way it did before.

7-15-14 I've come to a place with the regret work where I feel I've plumbed the depths as it were and gotten what I need from it. I'm glad I dedicated the time to it, but now I'll return to some other projects. I've also started work with Netzach, doing the initial phase of connection work, which I'll build on when the time is appropriate. It occurs to me that Netzach and Hod are mirrors to each other representing both the same and opposite principles, a union of opposites to create a composite realization, which would be Yesod, which when refined further becomes Malkuth. Of course the other Sephiroth also have something to add to that, but I'll get to those later.

7-20-14 I've started working with Netzach. Today I encountered the Elohim, which showed up as multi-faceted mirrors which mediated spiritual forces. They explained how they acted as connections between specific types of spiritual forces and the magician. Also Eros pointed something out today in my meditations, specifically noting how I've certain places in my life, certain relationships where the movement is stopped or blocked by how I let those relationships effect. Something to meditate on further. I'm in Chicago right now and visited the Life Force Arts center, as well as the Occult Bookstore. I liked the energy of the Occult bookstore and look forward to coming back some time and presenting again.

7-21-14 Left Chicago today. It's been years since I was there and what struck me the most about the city is the manic, frenetic energy. It's a good place to visit, but I don't know if I could live around that many people all the time. Feeling the movement of the city, both in terms of traffic and people was interesting. It has its own rhythm, made up of all the people, the traffic, events and everything else. And I could see how a person could tap into the energy to fuel their workings, though I think it would be dangerous. You'd have to be careful with how you were connecting and what you were connecting with.

And we arrived in St. Louis. The shop Pathways is wonderful, one of the best stocked occult bookshops I've seen, with hard to find works. The community is friendly and welcoming. I also felt the spirit of the original proprietor connect with me and welcome me to the shop. The workshop I offered was well received and I could tell it helped people come to some good realizations for themselves. More than anything I want my workshops to provide that kind of experience to the people who take them.

Are Magical Tools just Props?

Tools The other night, at the magical experiments meetup, I got into an interesting conversation with Victoria and Sara (Two of our regular members) about whether magical tools are essential, in and of themselves, or if they are just props. Sara made an interesting point that when people argue that magical tools are just props or window dressings, they are being dismissive of them, instead of recognizing the important role they can play in a practitioners work. I have, on occasion, argued that magical tools, herbs, crystals, etc., are props or window dressings, so when Sara made that point, I listened. When I've used that phrase that magical tools are props/window dressing, I've used it to make a point, namely that what makes those tools effective has more to do with the magician and his/her need of those tools as a means of working with the forces those tools represent. In other words, I treat magical tools as symbolic, and feel that once a magician understands what the tools represents, s/he can work with the underlying principles directly instead of continuing to use the tools.

Sara's argument is that magical tools have something inherent to them, which isn't symbolic. And she has a point. For example, the effects that herbs can have on a person aren't symbolic. So there is something to be said for working with certain types of magical tools and recognizing that those tools have something to them that goes beyond symbolic. An additional point to consider is that some magical tools are used across traditions and have a history of specific uses and purpose that, for people within those traditions, and that specific use can't be replicated by the magician alone.  Something else I've considered is that the tools create the atmosphere, set up the space that people work in. A lit candle, incense burning, chants, and ritual tools, all of it creates a space people can work in.

With all that said, what I really came away with from Sara's conversation had more to do with being aware that how some people treat magical tools and their importance is going to be different then how other people treat them. The question is can someone like my respect that difference. And the answer is yes. I can respect that the importance and meaning a magical tool has differs from person to person. At the same time, I also know my own view on magical tools, which is that they have their uses, up and until the magician no longer needs them. For some people, no longer needing a tool may never be an option and this doesn't make that person less of a magician. It just means that person works within a specific system where those tools are essential. On the other hand, a person who can work with a tool and then at some point no longer need the tool because of how they understand the principles the tool embodies also isn't less of a magician because they don't perceive magical tools in the same way that the other magician does.

Each magician has to decide what the relevance of magical tools are, in relationship to their practice. I can tell you what the relevance of those tools are to me, but that doesn't really matter. Whether you consider magical tools essential or you consider them to be props doesn't change that magical tools serve some type of role in the practice of a magician. I use magical tools in my practice. Over time, some of those tools are no longer used because I've embodied those principles. But at one time I did use them and even now what they represented, the principles they embodied are still relevant to my practice. Magical tools have relevance and importance. The degree varies from person to person, but that doesn't change that they fulfill a specific purpose and function.

The Process of Magic Round 10 starts in 3 weeks!

redsigil_400px-72dpi Round 10 of the the Process of Magic course starts in 3 weeks on August 6th. Magic is a process that changes you and your relationship with the world, if you understand how the process works. Whether you are just learning about magic or have been practicing for years the Process of Magic course focuses on what really matters: Learning how to use magic to proactively improve your life. 

In this class you'll learn:

  • Develop your own definition of magic and why its important to have your own definition.
  • Use a process approach to magic to understand how it works and what you change.
  • Personalize your magical system to improve its efficacy in your life.
  • Understand how to fix mistakes in your magical workings.
  • Achieve a new understanding of magic and its place in your life and work.

To RSVP or for more information go here.

How to Become the Result you want to Manifest

Magical-Identity- In Magical Identity, I wrote about how my approach to magic shifted to an ontological model, which recognized identity as a principle of magic. One of the key realizations I had about magic is that a lot of it is reactive, done to solve a problem. The problem with a reactive approach is that you are waiting for things to happen to you before you do something. Another problem is that the focus of the magician is on the world to the exclusion of recognizing the role the magician plays as well. A shift to identity recognizes that the internal work the magician does has as much value as any other magical work being done. More importantly it recognizes that to manifest the result in the world around you, first you need to become the result.

When I do magical work, one of the key parts of the process is that I take the result and internalize it, making it part of my identity. I live as if the result is a reality in my life. It may not be a manifested reality in the world around me, but within my internal reality it is. In doing this I align my identity with the result and make it part of my life. By making the result part of my life, I live it. Living it makes the mundane actions I do bring the possibility into reality because it's something that is part of the actions. The actions come from my identity, are an extension of my identity, a proactive change of reality, instead of a reaction to whatever is happening.

I sometimes hear that magician struggle with results and what I usually discover is that they haven't made the result part of their reality. They aren't living the result and they haven't made sure that the result aligns with their internal values. If the result they want doesn't align with the identity of the magician, the magician will find a way to sabotage it. They may not be consciously aware of the sabotage (often they aren't) but it will happen nonetheless. The sabotage is a blind spot that occurs because the magician isn't integrating identity into the magical process.

Principles of Magic

I've often said that the problems a person has in their life has one thing in common: The person. The same is true of the results in your life. You, more than anything else, define the success or lack thereof of your magical work. When you look at a magical working and you aren't satisfied with how it worked, then look to yourself first and ask yourself how your identity does or doesn't align with the working. The majority of the time you'll find its a sabotage within you, because you haven't created the necessary agreement with your identity and the result you want to manifest. The rest of the time, it's a problem with the process and you need to take that apart in order to figure out what didn't work and then get it fixed.

When you don't have agreement between your identity and your result, you need to examine why that is and either determine if you can create alignment between your identity and the result or if you need to drop the result. The way I handle it is by making the result part of my life, turning it into a reality within me, which is manifested in the world around me through the actions I take. And I pay close attention to whatever comes up that feels resistant and make sure to address the resistance before doing anything else. Taking this approach has consistently yielded results because I've made sure that what I want to manifest is in alignment with my identity, instead of working against it.

 

Round Ten of The Process of Magic starts August 6th

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Round Ten of the Process of Magic starts August 6th!

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. You will learn how to:

  • Develop your own definition of magic and why its important to have your own definition.
  • Use a process approach to magic to understand how it works and what you change.
  • Personalize your magical system to improve its efficacy in your life.
  • Understand how to fix mistakes in your magical workings.
  • Achieve a new understanding of magic and its place in your life and work.

Here's what several students of the class have said about their experience:

I have been reading and experimenting with magic and the occult for over five years and it seemed like I was going off in too many directions, without a map to guide me. I felt like I was spinning my wheels. This course helped me focus, without tying me into any particular Religion or belief system. If you are looking for a course that builds a foundation for your understanding and practice of Magic, this is the one!
Testimonial from G. Marlett
By describing the process of magic(k) rituals, Taylor Ellwood taught me how to enhance my work. He taught me how to analyze and improve some rituals I had made, how to apply proved techniques to experimental rituals for internal magic and how pop culture can also be useful for creating pantheons more in relation to oneself. After this class my rituals have been really effective, and I started to think of magic as a means for transforming myself to get the best out of my environment. Highly recommendable class, I’m really happy I took it.
Testimonial from Ivan Marquez

Want to learn more or sign up for the class? Go here.

Why you need patience when doing the work

Patience Over the last month and change I've been doing a lot of internal work around the feeling of regret and how it shows up in my life. I've also recently started working on the Quabala, doing pathworking with the Sephiroth. With both of these workings, its been essential for me not to rush the working. What that means is that I can't focus on the results and what I think they should be. I need to be present with the experience and allow it to happen in the way it occurs. This means that I need to allow the work to occur at the pace it happens instead of trying to put it on a schedule.

For example, I was recently doing some work with Hod, with the Angelic order of it. The first day I worked with them, the impressions I got didn't make much sense. I recorded them and then redid the working the next day and the day after, and so on and so forth. The working wasn't going to happen in one day and I knew that, but I also knew that I needed to take my time and be open to the working taking multiple days to occur, as needed. I needed to be patient with the work and not force something to happen because I was establishing a relationship with that Angelic order as well as with Hod.

Patience is important in magical work. You've got to be patient with what you are doing. When you try to force a result, you lose something in the process. When you stick with the work and do it with the purpose of allowing it to happen as it needs to, you get not just a result, but also the experience of the journey. That journey transforms you, shapes you, and allows you to make meaningful change in your life through the connections you make in doing the work. Patience is needed because whether you are doing internal work or connecting with the spirit world or doing something else altogether, what you are really doing isn't something that always speaks to easy and obvious results. Magic isn't always about manifesting a possibility into the world, though it can be sometimes. Even in that case, I've found that magic is still a process of patience, because you are aligning the variables into your favor in order to manifest the possibility into reality.

So what's the point of all this? Don't be in a rush to achieve a result. Welcome the process for what it is and be patient with what you are doing. Allow yourself to go deep into the work you are doing and let it transform you as it also transforms the world. Let yourself be moved and discover in that movement the transcendent glory of magic as it changes your life. When you do that, you'll know what magic is and you'll appreciate why patience is important.

Spiritual Discernment in Pop Culture Magic

  Spiritual discernment

In Unseen Worlds and Practical Aspects of Spiritual Discernment, Anastacia Nutt argues that its important for people to be careful about what kind of media they expose themselves to. She argues that modern media can pollute the imagination of the practitioner. R. J. Stewart makes a similar argument in his book, and they have a point, although I don't entirely agree with them on their perspective on modern media. It is true that modern media can capture the imagination, and as a result become something which distracts the practitioner's mind. For example, you can probably think of incidents where you got the theme song of a commercial or show stuck in your head. Your monkey mind replayed that theme song endlessly, and it may have been something you weren't consciously aware of. When this occurs, it can be an example of your mind getting fixated on the media, to the point that your imagination can't focus as easily on other topics, or for that matter on your spiritual work.

One of the reasons Stewart and Nutt make the argument they do about modern media is because they are part of a spiritual tradition which has specific imagery that is used in the imagination as part of the work a person does within that tradition. Thus it makes sense that they would make the argument they make because they are using specific imagery which has an effect on the imagination and it's important to preserve the focus of the imagination in context to the workings the practitioners are doing. With that said, I also think that modern media can be useful in magical work, provided you aren't working in a specific magical tradition.

I'm not working in a specific magical tradition and I find modern media to be a useful tool for my magical work. However, even in that work, I still need to be careful about what media I expose myself too. I don't expose myself to just any media, but am very careful about what media I draw on, because of the effect it can have on my imagination. For example, I don't watch horror shows. The reason I don't watch horror shows is because I don't want that type of imagery in my imagination. I feel it would adversely effect my ability to connect with the spirits because of how the spirits are portrayed in those movies. This standard may differ from person to person, but I think it's important to use spiritual discernment to recognize what type of media you'll watch and work with. If you know watching or playing something will influence your imagination you need to ask yourself how it will effect your imagination. If it's something where your imagination becomes fixated on the pop culture and you aren't going to use that pop culture in magical work, then you might consider whether its really the pop culture you want to focus on.

There's also something to be said for the fact that sometimes you can cultivate an unhealthy interest in a pop culture character. For example, a few years back the character of Sephiroth from Final Fantasy 7 was really popular, so much so that a number of fans claimed they were married to Sephiroth. They would share how they'd married him on the astral plane. Seemingly harmless right? But consider the mythology of Final Fantasy 7. In that game, Sephiroth is an insane character, with a mommy fixation and a desire to destroy the world. For all intents and purposes Sephiroth is a psychic vampire. The fixation on Sephiroth is an occupation of the imagination, on a entity that may not have the best interests of the people interested in him.

With pop culture, as with any kind of cultural tradition, its important to be selective about what you work with. Utilizing discernment is taking the time to do the research and determine what you'll work with and why.  It's recognizing that what you choose to work with is important because of how it shapes your imagination. I work with pop culture media but I choose the media carefully with a recognition of how it could effect my imagination. As my imagination is a powerful magical tool, I want to use it effectively in order to achieve the best possible outcome, so I'm going to choose what I feed my imagination carefully to make sure that what I'm putting into is something I can work with magically if I need to, as well as enjoy, without getting so fixated on it that I'm unable to remove it from my imagination if needed. Remember that what you choose to focus on does have an effect on your imagination. When you are working magic, choose what you draw on with an awareness of your imagination so that you can use it effectively when you need to.

I do feel that pop culture is the modern mythology of times and that working with it is useful. There is no reason not to consider working with pop culture, unless you are working in a specific spiritual path or tradition where there would be a conflict of interest. The principles of magic can be used to work with pop culture, and you can develop a spiritual tradition from that work. The system of Dehara, for example, which is based off Wraeththu is an example of such a system which people work with for both practical and spiritual purposes and it works for them because they have established a genuine spiritual connection with the Dehara. It's a modern mythology which nonetheless works because there is something there that is deeper that people connect to and work with.

I was interviewed by Lucian Pharoe. You can listen to it here.

Book Review: Convergence Culture by Henry Jenkins

In this book, Jenkins explores how old and new media converge and shape pop culture as well as interactions people with have pop culture. It's a fascinating book which shows how fans are increasingly shaping the production of pop culture and how companies are reacting to that change. This book also shows the rots of social media and how the changing technology will continue to shape how media is produced. What is particularly important about this book is that it helps you understand how more than ever people have a role in pop culture and how the creation of pop culture is the creation of the modern mythology of our times. The author provides a variety of case studies that show how different mediums of technology are being used in the production of pop culture mythology. this is a must read book for culture studies, but also for anyone fascinated with how pop culture is shaping our time.

The Value of Spiritual Discernment

discernment In Unseen Worlds and Practical Aspects of Spiritual Discernment by Anastacia Nutt, the author makes the point that it is useful to cultivate discernment and the ability to filter out negative energies/entities while inviting in beneficial energies/entities. I agree with her approach and have employed in my daily meditations since I started practicing magic. In a of modern occult works the emphasis on protection focuses on creating a sterile environment from which to work magic, but creating such an environment weakens our ability to work magic, because we are excluding everything, as opposed to only filtering out what isn't needed.

I've always found filtering to be quite useful and in establishing a space from which to work magic or simply doing magic on the fly, I've always focused on creating a system of filters that admits the right energy, while taking anything that doesn't fit and distributing it back into the space outside of the magical working. In this way I'm not so much excluding energy as redistributing it where it is needed, while also bringing exactly what I need.

I think the focus on magical protection has emphasized a more martial aspect to such work in part because people buy into the idea that there is a hostile spiritual environment and entities just waiting to attack. My own take on it is not so much that there is a hostile environment or entities, so much as there are environments and entities that are anathemic to us and don't fit in, but nonetheless have a space they do fit into. So if the magician sets up the space right, what happens is the right energy/entities are brought in, while the rest is filtered out and redistributed to where it does belong.

In my opinion spiritual discernment is really a cultivation of awareness about what you are doing and what fits with what you are doing. It's a recognition that what you bring into any magical work and for that matter into your everyday life is determined by your awareness of what fits and works vs what doesn't fit and will get in the way of what you are trying to do. Spiritual discernment, as a result, examines the chaos and harmony in a person's life to evaluate what needs to be filtered out and what needs to be kept. If we approach protection from that perspective we can appreciate and recognize that everything has its place, but where that place is, in respect to ourselves, will depend on what we are doing and what we need to draw upon. Thus we set up a system of protection that integrates what's needed, inviting it into the place it is needed, while keeping what isn't needed in its proper place, honored but nonetheless not invited because it isn't needed. It's an admittedly a different approach to protection, but it's always worked for me and over the years has helped me filter out a lot of chaos.

When you combine this concept with internal work, it is also useful, because it helps you filter out the chaotic aspects of your life and dissolve then, redistributing the energy and people that are unhealthy into their respective places outside of your life, while keeping in the people and energy that are healthy for you. A lot of my internal work has involved coming to recognize what is chaotic and dissolving it and letting go of attachments that would keep it in my space, while also cultivating awareness about who and what really fits into my life and why. Spiritual discernment, used in the capacity, allows a person to acknowledge that each person has their place, but again also acknowledges that such a place may not fit with your life. Not surprisingly doing dissolving work has a tendency to cause some changes in your life as you look at situations and people differently through the work you do and let go of the unhealthy attachments you were holding on to before.

I've had an article published in Silverstar magazine on Redefining Pop Culture Magic.

I was interviewed by Jeremy Crow about the upcoming Left Hand Path Conference, Manifesting Wealth and Magical Identity.

Upcoming Events for July

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The following events are coming up in July. I hope to see you at one or more of these events!

The Alchemy of Life Weekend Intensive is happening on July 19th and 20th. The early bird price is still available, but only until July 5th!

I'll be offering two classes, Magical Identity and Manifesting Wealth, at Pathway Books in St. Louis Missouri on July 21st and 22nd.

I'll be offering two classes, Alchemy of Breath and Manifesting Wealth, at Spiritual Gardens on July 23rd and July 24th.

The 2nd International Left Hand Path Conference is happening from July 25th through the 27th. It has a great line up of presenters, music and artist, including myself. They are still offering tickets at discount prices for this week, but there are only 50 tickets left.

 

 

Spirit Cord work with the Quabala

spirit cord One of the techniques that R. J. Stewart shares in The Spirit Cord is how the cord work can be used in relationship to Quabala. He provides an exercise where you work with the Ashim, which are the lunar angels of Yesod and from that work with the archangel Gabriel. I did the exercises and found them to be quite help for attuning myself to the lunar energy as well as to the Angelic order associated with that energy (I shared some of this work in my monthly posts about movement).

I'm reading William Gray's book The Ladder of Lights, which covers the Sephiroth in detail. I've decided that as I read each chapter, I'll explore reach Sephiroth and the associated planet and angelic order using the spirit cord as part of the working. So far I've done the work with Malkuth and the Angelic order of the Kerubim and the Archangel Sandalphon and started to work with Hod, which I'll detail at a later time.

What I noticed with the work I did with Malkuth was that the spirit cord technique worked just as well with that sphere as it had with the Ashim. I actually noticed that part of the spirit cord work focused in on the temple of dedication, which Stewart writes about in The Spirit Cord, so in one sense it felt like I'd already partially attuned myself to that energy and was just approaching it from a different angle. Nonetheless it helped immensely in turning the conceptual information provided by Gray into experiences that integrated the concept of Malkuth into the work I'm doing. What I noticed when working with each layer of Malkuth was an integration of those layers into my consciousness in such a way that helped me interface with the respective beings I encountered during the work.

I plan on applying the spirit cord technique to each Sephiroth and then possibly extending the work further. What I find useful about this work is that it draws on the understanding of the cord as a tool of remembrance, a spiritual library of sorts that can be used to integrate specific concepts into practices that become part of the spiritual essence of the practitioner. The spirit cord aligns the practitioner with the forces s/he seeks to work with and creates a spiritual DNA which can be used to recall those forces and make it easier to work with them because of how they are integrated into the cord.

During my spirit cord work with Hod, I experienced a faster frequency and I was told that one of the benefits of the spirit cord work is that it could help the practitioner handle the changes in frequency of energy by helping the practitioner sync their energy with the higher frequency energy, while acting as a buffer for the practitioner. It's a useful insight into the cord that I'll definitely employ as I continue this work.

Book Review: The Spirit Cord by R. J. Stewart

An excellent book which explores cord traditions of magic and shows you how to create a spirit cord and work with it in your own magical work. There are a number of exercises shared, which are helpful for learning how to work with the spirit cord. The book provides enough guidance and information that a practitioner will get a lot from it, but the key to truly working with the spirit cord is to make it your own. I also suggest taking your time and working with each exercise until you feel you've gotten the essence of what's being worked with. For the ritual magician, this is a definite must have book that will add a valuable tool and technique to your ongoing work.

Elemental Balancing Ritual Movement Month 20: Regret

Eros 5-26-14: As I navigate the Pluto cycle of my chart and the dark night of the soul it brings with it, I find that what matters most is how I approach the challenge I'm facing and that what movement teaches me isn't just how to move around a situation or through it, but how to move with it, and through that movement find resolution. This last weekend I made a mistake. I had the best of intentions, but how I approached the situation created some discomfort for other people. What it made me aware of is how I can sometimes get so fixated in what's in front of me that I lose the big picture perspective. I move with that realization and I make it part of the movement of my life so that I can learn from the mistake and apply it proactively to my life and interactions as well.

5-28-14 The latest Dresden Files book, Skin Game, just came out and I'm eagerly reading it now. It's one of my favorite fantasy series, in part because  love the whole occult detective angle the author explores. If I ever get back to writing fiction I'd want to write an occult detective series myself, though I don't know if I could do quite so good as Butcher does. I'm also reading a book on magic that I'm not sure I'll review. I find myself fundamentally disagreeing with pretty much everything the author shares and I feel that there's a lot of distorted information being shared. On the other hand I also consider that ultimately the person is sharing their perspective and I don't have to agree with it. It's just rare for me to disagree so much with what someone shares.

5-30-14 I finished the book I disagreed and decided not to read any of the other books by the author. I'm not going to name the person, but I definitely will not read any further as it would be a waste of my time. I think this is the first time I've come across material where its clear to me the material is distorted and that whatever the person is connected to is something I shouldn't have anything else to do with. I've read books by people I personally don't like and still found value in the books they wrote, but this is something else altogether. It's rare for me to feel this way about something I've encountered, but there it is.

5-31-14 Yesterday I had a fairly deep, intense meditation where I was present with the stress in my body and I saw that a lot of it was brought about by regret and I could feel those regrets pressing on my mind, creating tension, holding me back. I promised myself I wouldn't have regrets and yet I have them. It's hard to really sit with that and yet also liberating. I've decided that I need to focus more on my dissolving work and spend some time digging into those regrets. I don't expect it to be easy, but I think it will be rewarding once I've been able to let go of them.

6-1-14 In a conversation with Kat, we discussed my feelings of regret. I realize that what I regret is that 9 years ago I made a lot of decisions based on reaction and on someone else's schedule. I made those choices, so I'm responsible for them, but I regret I made them because I didn't honor myself at all in doing so. I made decisions that changed the direction of my life and I did it for the wrong reasons. That's no one else's fault or responsibility. It's my responsibility, but what I take from that is just how important it is to never let someone else's schedule dictate my choices and also how important it is to make decisions by design instead of reaction. I've made the majority of my decisions in this life by reaction. I know that by looking at the history of my life. I suspect most people live in the same way, but over the last few years I've learned to apply design awareness to my choices. I've started asking myself what really informs that decision. And so Id like to think that I'm learning how to make decisions from a place of awareness that examines the consequences of the decision and allows me to map out what I could or should do before I make that decision. As for the regret...I'm allowing myself to fully acknowledge it, be present with it and recognize it for what it is. I haven't done that before now...I don't think I was ready to. Now I am and that will help a lot as I meditate on it.

I took a trip down memory lane today reading old issues of Razor Smile and Konton Magazines. I remember writing articles for both magazines in the mid 2000's. It's sad to me that the magazines have been replaced for the most part by blogs. I like blogging, but writing for those magazines and getting the magazines in the mail was an experience. I feel some nostalgia for those times. It was a period of time where lots of people were writing and sharing ideas, then after 2006 it all feel to the wayside.

6-5-14 Today when I meditated on regret, I ended up meditating about my earliest romantic experiences with women. I allowed myself to feel the regret, but also really paid attention to it and realized that all of my regret is about the relationships in my life with women. I don't have regrets about anything else other then the ph.d program. Everything is around those relationships and so I just sat with that and meditated on it, recognizing underneath the regret were feelings of emptiness, of trying to get filled, of trying to be accepted, of looking for something in the wrong place. How much have I defined my life by my relationships? A lot. More than I'm comfortable with. So much of my sense of self has come from trying to connect with women in my life, in part I think, because of how I've tried to resolve in my mind and heart, my earliest experiences with my step mom. I feel that much of my focus on connecting with women has really been about trying to heal a wound no one else can heal, to find acceptance only I can.

6-7-14 I find it relevant that the yesallwomen conversation is occurring now as I do my work around regret. It helps me to situate that work within the cultural aspects of the movement, highlighting to me how much my own feelings are conditioned in part by how men have treated women. I know I've sometimes been guilty of behavior that's been disrespectful to women and reading the accounts in yesallwomen calls that into account and provides me a chance to recognize that behavior and put it into context with the regret work I've been doing. Today Kat and I discussed that work. She asked me if I felt regret about being with her or about the choices we've made as a couple in respect to our relationship. A reasonable question to ask. I told her I don't felt regret about being with her or our choices, but instead feel that what I'm working through with the regrets I'm working with is another layer of conditioning, reactions, and feelings about women in my life and my life choices that have lead to me live a reactive life, for the majority of my life. I don't want to live such a life, and yet I find the only way to change it necessarily involves working with those reactions and emotions I haven't fully acknowledged or accepted in myself.

6-10-14 I've been watching West Wing on Netflix. In one episode a character discusses his addiction issues. He acknowledges that although he hasn't had a drink or taken pills in 6 years, he's still an addict and admits he doesn't thinking of taking one drink, he thinks of taking ten drinks. It was an interesting statement about the nature of addiction and it made me think about how addiction takes away the enjoyment of something: the enjoyment of a drink, the enjoyment of sex, the enjoyment of anything else. Addiction is something else, trying to forget something, to fill something up, to numb the pain. It eats as you because no matter what you do, its temporary at best. And even if you do nothing, its still there. The only way you can deal with it is to do the work and face whatever it is you are using the addiction to mask.

6-15-14 In Born for Love the author discusses chameleons. Chameleons in this case refers to people who are trying to belong and as such change themselves to fit whoever they are around. When I read that, it reminded me a lot of myself. I've been a chameleon at times. Around the time I was reading that chapter, I was meditating on regret and I had a really deep, long meditation and in that meditation I was told, "Stop trying to be everything for everyone." Then I was shown a bunch of different moments in my life when I had tried to be what other people had wanted. From my step mom to my mom, to friendships and romantic relationships, I've always tried to fit myself into what the other person wanted, often making myself miserable as a result. I've learning, in my marriage with Kat, how not to do that so much, how to assert myself more, but I see how this ties into regret, specifically because in trying to fit myself into what I thought other people wanted, I gave away my sense of authenticity, my awareness of what I wanted, submerging it in the interests of trying to be something else.

6-16-14 In how The Mighty Fall, the author makes a point that I think is significant to dealing with regret. He notes we aren't imprisoned by our circumstances, or our setbacks, or our history, or our mistakes. Instead we are freed by our choices, and what brings us freedom is the ability to learn from our mistakes, to make a choice where we come back from our setbacks. Never give up on yourself, never give up on the ability to prevail, the belief in yourself, and never give up on your core values. I feel this is relevant to regret, because I think that regret can sabotage your belief in yourself. When I meditated today on regret, I felt that same place in body where the tension is, and I went deep once again and I dissolved some of it, coming away with a realization of how regret is still an attempt to fill something up. Reading what I did today helped me recognize the strength that my core values have brought me over the years, especially in how I have not given up on achieving what it is important to me. Whatever regrets have come up, I have not allowed them to drag me down.

6-19-14 I'm visiting the ocean right now. Seems appropriate to do so when doing dissolving work. Today's meditation continued focusing on regret. I feel that the area in my torso where the emotion of regret is found is becoming less tense as I do this work. It doesn't feel as blocked and I feel as well that I'm able to let go of what I've been holding onto for so long. It seems to me that part of dealing with regret boils down to taking responsibility for what you regret. And what I mean by that is that feeling regret doesn't necessarily involve taking responsibility. Taking responsibility means you acknowledge why you feel the regret and why you are letting it move you. In my case, regret has moved me a lot in life and I recognize that in a way I previously hadn't. This dissolving work is just the first step in my work with regret, the first step toward taking responsibility for it so it doesn't move my life in the way it has in the past.

Silence, Sound, and Magic

soundsilence I'm reading Music Power Harmony by R.J. Stewart. He has some interesting insights to share about silence and sound and their relationship to magic. He notes the following, "Before music begins there is silence; but that silence itself is full of sounds. When the music commences, it generates patterns through the (non-) silence that preceded it, but each fragment of the music holds countless moments of resonance, interaction, silence, and sound." There is no silence. We live in a world of sound. That sound is all around us. Turn off your T. V., music, or whatever you are listening to and just listen. There will still be noises. The hum of your electronics, or just the sound in the background. Still yourself and listen and you will hear sounds you normally block out. Yet allowing yourself to hear them will provide an experience that shapes your consciousness by opening you up to what is around you all the time.

Stewart also notes that actual silence is found within, which is true to some extent, but only in the ability of the magician to be able to still the monkey mind. The chattering of the monkey mind brings its own sound that echoes through the mind, distracting the magician from the focus of the magical work. The monkey mind is stilled when the magician learns to cultivate silence by recognizing that there is no need to comment on everything. The stillness of the mind leads to an experience of silence that allows the magician to be receptive to whatever it that s/he is working with.

What I find most relevant however is what he says about musical empowerment, which is that it enables us to be transformed, to open ourselves to being transformed. I find this to be true with music and to some extent with other forms of media as well. Some of that transformation is the impressions left on the monkey mind, which is why you find yourself thinking of that annoying song or commercial tune you recently heard. However, when used for ritual purposes, media transforms the consciousness by conditioning it toward achieving states of altered awareness that in turn is used for magical purposes. And whether you are making the music or listening to it, you become part of this sonic experience that imprints your mind with the path to achieving that altered state.

In my own work sound and silence form a rhythm,which is used to create that altered state of consciousness. Each moment of sound is interspersed with moments of silence, with sound and silence leading into each other and supporting each other in order to help the person immerse themselves into a state of consciousness conducive for magical work. Vocalization is also used to help tune the working to the spiritual realms that will be called upon when doing the working. Silence and sound are powerful and both should be used with each other to help emphasize the working.

For example, take a bell and ring it. Let the sound fade until there is silence, then ring the bell again, letting the sound fade to silence, then ring it again. Observe the effect on your consciousness as you do this activity. The sound of the bell cuts through everything else in the background, but the silence brings awareness of the background to the forefront. The alternation of sound and silence takes you out of your usual state of mind, creating that altered state of consciousness that is useful for ritual work.

This can also be applied to the human voice. Chant a word or a syllable. Vocalize it as you say it and then let that vocalization fade into silence, then chant again, silence, and repeat. Note how the sound and silence sync up and work together to create the state of mind which is receptive to what the chant embodies. The patterns of sound and silence are used to create resonance with the magician and the forces s/he is calling upon or connecting with. That resonance is built up as the rhythm is established and through that build up the connection is established and strengthened until the magician is ready to bring it to head and commence to the next stage of the working.

I'm finding sound and silence more relevant than ever to my won work, both in terms of ritual magic, and solitary work. Sound entrains us while silence stills us. Both have their place in magical work and when used together they can be a potent tool for creating deeper connections or for putting you in the right state of mind.

 

Magic isn't always Safe

safe This last weekend I gave a talk on the 7 Faces of Alchemy ritual at the Northwest Alchemy conference. At one point, one of the people attending the talk asked what the statement of intent for the ritual was and if I'd had a specific result in mind. I explained that my intention, at the time of the working was that it would function as a purposeful catalyst for change in my life, but that I didn't have specific results in mind because I felt that defining the result too much would have taken away from the efficacy of the working. I wanted to have an experience and I recognized then as I do now that when you have an experience, you necessarily give up some control to have it. You can't have an experience if you aren't open to it showing up in your life in ways you don't expect, that nonetheless brings change to your life.

My answer to that question also prompted me to note something else about that ritual: I didn't want to define the result too much because to do so would have sanitized the working, made it safe in a way that didn't allow for genuine change to occur. Life isn't safe (despite what illusions we provide ourselves to that effect) and I don't think magic should be either. Now I'll admit I've stated that it is useful to define the result and that when you develop a process of magic, it can actually be very useful to define the desired result so you can work backwards. In practical magic, defining the result is very useful because it provides a measurable outcome to shoot for. But there's always exceptions to the rules...

Sometimes you want to do magic to change your life, but you recognize that you need to be open for the change show up in ways you can't anticipate. You recognize that you need to be pushed in order to grow and if you try to control that process you'll just keep yourself stuck in a rut. Sometimes you need magic not to be safe and defined, because when its safe and defined it keeps you where you are...predictable. Sometimes you need to let go of control and be open to the experience, to letting it change and push you in ways you didn't expect could happen.

Magic isn't always safe. It shouldn't always be safe. When I did the 7 Faces of Alchemy work, it wasn't safe magic. It changed my life in ways I couldn't anticipate and pushed me to change and grow. I had a lot of illusions about myself stripped away and I had to come face to face with my decisions and look at what my life really was as opposed to what I thought it should be. It was hard work that humbled me and helped me change in a way that ultimately benefited me. It wasn't safe work though because if it had been safe I wouldn't have faced those issues or been humbled in that way. It was dangerous work that challenged me as a magician and person. By opening myself to the experience and allowing that experience to become part of me, I allowed myself to give up control and accept whatever came my way, with the understanding that it would change in me in ways I didn't expect.

Whenever I do magical work with an eye toward creating major changes in my life, I do so with the understanding that I won't be safe. My life will change and that change will necessarily require some sacrifice on my part that will likely be hard to give at the time I make it. Yet I also know that surrendering to change will bring with it opportunities and if I am open to those opportunities I will end up where I need to be. It may be uncomfortable and painful, yet what I learn as a result will challenge me to grow.

The Cultural Value of Pop Culture Magic

pop culture zeus Among other books I'm reading, I'm reading a lot of pop culture studies books as research for Pop Culture Magic 2.0. In several of the books the authors make some relevant points about how the concept of pop culture is treated. Pop culture is considered to be low culture, culture of the masses, something which is frowned upon as being not relevant or serious to our times, as compared to older works that are considered high culture. Shakespeare, for example is considered high culture, even though when he wrote the plays they were considered pop culture. The point to consider here is this: What makes one cultural artifact valid or another invalid as more to do with social agendas than the actual artifact. This is relevant to pop culture magic in the sense that the dismissal of pop culture magic is at least partially derived from cultural standards used to judge pop culture as not relevant because pop culture doesn't fit the agenda of the people deciding what is or isn't culturally valuable.

I admittedly have my own agenda. I find pop culture to be relevant and insightful in regards to the times we live in, and in the magical and spiritual work people do. I think that integrating pop culture into magical work makes a lot of sense because of how pop culture informs our awareness and experiences of the world. When I see the occasional negative reaction to pop culture magic, what I really see is a reactive reinforcement of cultural standards, usually done without being consciously aware of that reinforcement. And in cases where it is done with a consciousness awareness of that reinforcement, what strikes me most is what I perceive as fear on the part of the person. The fear that pop culture will overshadow and replace what they find to be culturally valuable.

What keeps culture alive and relevant is how people interact with it and make it a part of their lives. This is true for older cultural artifacts as well as contemporary cultural artifacts. Thus it can seem that pop culture is in competition with older cultures, and thus the response is to decry it, make it less valid and valuable. However I think that pop culture doesn't have to be in competition with older cultures and can actually inspire people to learn more about older cultures. For example, while Marvel's Thor is not the Thor of Norse mythology, he is derived from that Thor. People who enjoy the modern day presentation of Thor may become curious to learn more about the Norse version of Thor as a result. The same could be argued for Greek myths. The Zeus of Percy Jackson isn't the same as the Zeus of Greek Myths, but how many people have been exposed to Greek mythology as a result of Percy Jackson?

Another concern is that people might take cultural concepts from older cultures and corrupt them by applying them to contemporary culture. There is some validity to this argument. A cultural concept from an older culture will have contextual meanings and associations specific to that culture which may not carry over or apply to contemporary culture, let alone pop culture depictions of contemporary culture. On the other hand, something worth considering is if applying a classic cultural concept to contemporary culture might allow people to learn more about those values who might not otherwise be exposed to them. There aren't easy answers to this particular conundrum, but I'll admit that part of what I think pop culture can be is influenced by the cultures of the past and acknowledging and consciously bringing that influence to bear could be good for all of us.

I think it's useful to examine our own biases and recognize what informs them. The education system is slanted toward presenting "high" culture and valuing that culture over contemporary culture. How then does that effect our own biases and opinions when it comes to pop culture? If we value a certain type of culture over another, what are the standards and values informing that decision and how have we come to that decision? I'll admit that in my case I've always been fascinated by pop culture and its various expressions. I see value in it and through it discover new ideas for my magical work. That other people feel this way as well tells me that pop culture magic has more lasting value and can bring something to magical work and indeed spirituality that could be useful to explore. Knowing our biases as we go into that exploration is important, just as it is important to understand the biases that inform other people's perspectives and opinions about pop culture and its place in magical work.

The continued evolution of my non-anthropomorphic magical work

anthropocentrism I recently came across a blog post on pagan square which explored two meanings of anthropomorphism. The author argued that anthropomorphism wasn't necessarily an error and argued that classifying it as such negated the benefit of being able to relate to deities in a manner that was representative of the emotions and attributes that people could relate to. She went on to note that it was possible to derive two meanings in anthropomorphism. One meaning would argue that divinity has human form and physical characteristics of humans, which she felt would be an anthropomorphic error. The other meaning is that a deity, entity, etc., has human like consciousness and she felt that making this assumption was not an error. I disagree, because I find that when you attribute human consciousness, feelings, motives, etc., what is really happening is that you are seeking to control the relationship with whatever you are connecting with.

It makes sense in a way. If I ascribe certain types of behaviors to an entity, in order to work with it, it makes the experience feel safer. The problem is that assuming you understand the consciousness of a non-human by ascribing human values to it really misses out on actually connecting with the entity. In a lot of my recent work I've moved away from an anthropocentric model because I've come to recognize how limiting and problematic such a model is. At the same time, what I have found interesting is how some of the previous work I've done nonetheless set the stage to connect with entities I'm working with in a non-anthropomorphic manner. For example, I've been revisiting my work with neurotransmitters.

When I initially did the work with neurotransmitters I sought an anthropomorphic connection. In other words, I wanted them to appear before me in a shape I could recognize and communicate with me in a way that was humancentric. In those workings I'd ask for a symbol I could use to evoke the neurotransmitters. In my recent work I've gone back and approached the work in a manner that is focused on experiencing the neurotransmitter as it works instead of trying to sanitize it by making it seem human. While the neurotransmitter exists in my body, it doesn't mean it shares the same consciousness, values, feelings etc. When I've done the recent non-anthropomorphic work with the neurotransmitters, what I've discovered is that the symbols I'd previously been given actually are actually the experiences I'm having. In other words, the neurotransmitters provided the experience of them as symbols. In the current work, I'm experiencing them and yet finding that the experience mirrors the symbol. It's quite fascinating, but even in this case I don't assume an anthropomorphic consciousness at work, but rather a sharing of the experience in a way that would make sense to my anthropomorphic consciousness.

All of my other magical work has also been around a non-anthropomorphic approach, which focuses on being open to the experience without interpreting the connection from a human perspective. I can acknowledge, as a human, that my experience will occur through my senses and awareness of those senses, but I do my best not to place human values on what I'm connecting with. Instead by being open to the experience as it occurs I can connect in a way that is genuine and allows for mediation of the entity being connected with. I'm not blocking the connection with my human biases and interpretation. This mediation of the entity is stronger as a result, allowing the magician to establish a deeper relationship based on the authentic experience instead of the biases of the magician.

For example, the recent spirit cord work I shared about the lunar work I did involved working with the Ashim, which are the angels of the lunar realm. I didn't assume the angels would appear to me with wings or harps. In fact, I didn't assume they would appear to me at all, and in fact they didn't. My experience of them involved feeling them as they transported me to the lunar realm. By not going in to the working with anthropomorphic assumptions and biases, I was able to connect with them and be aware of them as they worked with me, without assigning values and consciousness to them that didn't necessarily fit them.

I see anthropomorphism as an extension of the tendency to apply psychology to magic as a way of explaining. Anthropomorphism makes magic seem safe and easy to handle, because it's all in your head. The problem with that approach is that takes the magic out of magic. It's just a head game then, easily explainable in terms of behavior, but lacking real depth. Anthropomorphism conveniently applies human behavior to experiences to make those experiences more palatable, but it stops us from really allowing ourselves to be moved by the magic we are working or the entities we are connecting with.

Book Review: The Sacred Cross: A Transformational Spiritual Tool for Life by Anastacia Nutt

This book teaches a stillness technique called the Sacred Cross. The author does an excellent job of balancing the conceptual aspects of the technique with practical exercises used to integrate the technique into your spiritual practices. She also provides some excellent suggestions for how the technique can be used in concern with other spiritual practices you are doing. I've found the book helpful as I've worked with the sacred cross technique and have adapted the technique into my ongoing spiritual work on a daily basis. If you are wanting to learn a useful stillness technique, this one will resonate with you and be very helpful.