BARBELITH underground
 

Subcultural engagement for the 21st Century...
Barbelith is a new kind of community (find out more)...
You can login or register.


Improvisational Magick

 
 
Perfect Tommy
05:49 / 15.09.03
'Teaching improvisation' might sound like an oxymoron. But, jazz musicians know that improvisational technique comes from learning scales, chord progressions and substitutions, and having a ready repertoire of licks to use.

I was just reading the introduction of Prime Chaos: "Doing magic is about being responsive to the challenges of your environment--often a response borne out of necessity. When you find yourself dumped in Cairo at 4 a.m. with your luggage at the other end of the city you can begin to appreciate the strengths of a freestyle approach to practical magic which enables you to shape ideas and approaches and pulling together an ad hoc enchantment to sort out the situation."

It sounds good, but I would think that there's a lot of potential for falling into the I AM AN EFFORTLESS MAGUS!!!! trap here if you're not as rigorous about your on-the-fly effects as you are about planned rituals with carefully planned correspondences.

So... got any general principles to improvisation that you'd care to share? What techniques are effective but don't require a lot of planning and equipment? Who here carries sage around with them at all times in case of demonic attack in a Dulce motel room, and how do you get a quick burst of gnosis without wanking in the train terminal?
 
 
Gypsy Lantern
08:18 / 15.09.03
A lot of hoodoo and drift based magic, often quite heavy on the paraphernalia in general circumstances, can also be adapted into something that works very well on the fly if necessary. For instance, you’re stuck in Cairo without your luggage, so you might go on a city drift through the streets in order to find various ingredients to go in a gris-gris bag. At a push, the bag itself could be constructed from a sheet of paper or small carrier bag tied up with an elastic band or bit of string.

You will walk the streets looking for a specific number of ingredients to go in the bag. All of the ingredients should at some level correlate to your intent, and they could be anything from curious plants growing between paving stones, to sigils derived from graffiti seen on walls, to just about anything that feels right for the intent or manifests itself to you in an odd way. The more often you do this, the better you tend to become at recognising and acquiring what you need, and you may even find yourself developing a ‘language’ of ingredients to use in work of this nature.

You might then look for a power spot in the city and construct the bag at this location, making offerings to whatever Gods or Spirits you choose to work with, or maybe something specific to the location you’re in. During the course of the drift itself, you might ‘receive’ some information about the best method of charging up the bag. This type of sorcery is all about being open and responsive to what comes through. Through practice, you learn to get the right balance of going with the flow of the magic, whilst tailoring what happens towards your personal intent.

This is what ‘improvisational’ magic means to me, it’s about being receptive enough to pull together powerful and sometimes elaborate sorcery from what you find around you. Think Tom a Bedlam working magic out of things that other people overlook as junk.
 
 
illmatic
08:43 / 15.09.03
There's a I Ching method for divining from the random signs around you known as Plum Blossom divination. You select triagrams by applying a variety of numerological and associative methods to the signs around you - for instance, seeing young girl might equate with Tui, the youngest daughter (the triagrams in the I Ching can be seen as Father, Mother, 3 Sons and 3 Daughters repectively), if you see her as it starts to rain you might assoicate this with K'an, the triagram for Water. You put these two together for your hexagram, and could then calculate a moving line by adding up the time from your watch and reducing by 6 until you have a figure that is 6 or less. You'd take this as your oracle for whatever was on your mind.

Rather than refering this to the text of the I Ching, you'd instead look at the intractions of the elements - each triagram being assoicated with one of the 5 Chinese Elements and these being arranged in cycles of Birth (support) and Death (destruction). Sounds a bit convulted, I know. In practice, I haven't found this as immediate and strking as my more "conventional" usage of the I Ching, but I like the idea behind it. Looking for omens and interacting with one's enviroment and finding stories there to explain things to you.
 
 
C.Elseware
08:49 / 15.09.03
I've not got enough experience to know if this is good advice, but it sounds good so I'm going to anyway...

I take the approach of learning stuff while in "down time" so that you can apply it when needed. You can't decide on the spur of the moment to do a quick tarot reading if you have not studied (or some prepared for that matter)

Magick is an art of (the art of (thee art ov)) changing the world according to your will. Two analogies I find very helpful are that of a martial art and that of programming a computer.

Programming and Kung Fu (..and magick..) take years of dedication. You can't be taught all of it, some you just have to learn yourself from application and awareness. Also, you can't learn them properly from a book or video. At least now and then you need the apprentice/master relationship to learn so of the finer points. Also, you can't just listen to and watch a "master" and read some books and get good. It takes practice. Lots of it.

Only then will you be able to improvise.

The average "improvising" computer programmer is only improvising because they don't know the correct way to do something (1 in 10000 times they may do it better, but not usually). I suspect the same is true of martial arts. Until you know what can/can't be done you can't improvise within the constraints. And there are constraints. A martial artist, no matter how good, can't just bend his arm where there are no joints to bend. Once he's good enough, however, he can ancipate the need for that bend and position his elbow accordingly.

My gut (HGA?) tells me magick is the same, if you want to improvise, you better already know all the moves and more importantly, know what you can't/shouldn't do. You can improvise something that will actually work as expected.

Nothing wrong with improvisation, just don't mistake laziness, sloppiness or pretentiousness for it.
 
 
Seth
09:23 / 15.09.03
I'm one of those awful gadget freaks. I always carry my bag, and it always contains (as well as the usual pen and paper, keys and wallet kinda stuff):

- Minidisc player, with devotional music and journey drums (between 4-7 beats per second. That reminds me, I need to get round to making my own disc).

- Mobile. What's wrong with calling for help? I have friends who I can trust who are only a text or call away. Also has a radio (suprising how well local FM stations work for banishing, with their emphasis on cheesy chart-pop).

- Pocket PC. Holds my journals, email and Richard Wilhelm's translation of the I-Ching, as well as whatever articles I happen to crib off the net. Has a dictaphone for field recordings, which I can back-up via minidisc when I get home.

A lot of improvisation involves preparation. When I drum, I pray beforehand (with the other musicians, if they're into that kinda thing). I assess the mood of the situation, guage what kind of jams and ideas will work best. I leave myself time and try to reserve energy to do what I need to do. I don't push the music in directions that it won't flow down naturally. I have an awareness of my own ability, and will only try for things I haven't done before when it's absolutely necessary or when I feel compelled. And I try not to let my mistakes throw me or the other players!

This translates fairly well to magic on the fly (I don't see any real difference). I always make sure that my phone and Pocket PC are charged, always give myself more time than I need to do anything, always go into a day well aware of the various times and spaces in which I will be alone/unoccupied with things to do. I'm obsessive about double-checking that I have everything I need, and not leaving it in a place where it can be lost or stolen. I adapt my practises to the circumstances (meditation on public transport is a great discipline, as it teaches you to filter out distractions). I don't leave myself without options in places that I don't know very well. I make for home or a friend's when I'm feeling tired or ill. When all this is in place, I know that I have a framework in which I can be spontaneous.

The idea is to not let yourself be caught unprepared. I know the thread is more about moments when you're caught flat-footed, but under most circumstances those kinda risks can be minimised. There are times when I have been without a satey net, and I can function pretty well. These are the tips that I'd offer:

- Have an array of centring techniques. I use the aforementioned radio banishing, the White Flame (search for the thread if you're interested), prayer, visualisations, mediations/contemplations, and particularly speaking in tongues (which I cannot recommend highly enough. Once you've got it it's instantly accessable and is a brilliant means of calming yourself down and purging shite out of your head). You're no use if you're panicking.

- Improvisation requires an awareness of conventional structure (only after you know the rules can you say how and when to bend and break them). For example, a classic shamanic structure could be: check/obtain required tools - purify oneself - set up sacred space - call allies and sound out the situation with them - perform work - offer gratitude to allies/spirits/universe - banish.

- Make sure you have an awareness of the way in which you work and what you're capable of. Awareness of oneself and one's processes should be central to your practise anyway, IMHO.

- Have an imagination/intuition for what could potentially occur around you. Interruptions, distractions, safety of surroundings, etc.

- The best way to become good at improvising is to integrate your magic into your life completely, without a dividing line between what is or can be magic and what isn't. Having already applied magic to everything conceivable, it becomes that much easier to apply it to the sudden and inconceivable when the time arises.

Great thread, BTW. Hope that's helpful to someone, at least.
 
 
—| x |—
09:36 / 15.09.03
Watch.
 
 
Seth
09:38 / 15.09.03
Shit, I nearly forgot the most important stuff...

LISTEN! WATCH! FEEL! Don't close youself to your senses, be they one of the five or something other. There are so many occasions in which the answers will come to you from outside yourself.

THE CLASSIC BLUNDER OF MOST IMPROVISING MUSICIANS IS THAT THEY DON'T FUCKING LISTEN!

An awareness of outside stimuli lets you know how and when to act (if you need to act at all). There are countless occasions in which I've stopped playing my kit altogether so that the attention is focused more on another musician, or when I've receded into the background to offer a framework for what other people are doing, or when I've decided to counterpoint someone else with accents or deliberately playing across them at a certain angle or a different time signiture.

If you're lost in a strange town, don't be so focused on wanking in the bushes over a sigil that you get arrested by the very same copper who would have happily given you directions under different circumstances!

(LOL. Crossposted with you, Modog!)
 
 
—| x |—
09:56 / 15.09.03
Well then, dear set, more power to you!



Cheers (and perhaps cheerio...),

my moddy has a first name, it's G.O.D.O.G.
 
 
cusm
16:47 / 15.09.03
Bah to trappings, items, and gadgets.

The bag contains MY STUFF. Therefore, it is by the law of contagion a part of me, and I possess a link to it. I use this link to call into my mind an image of the bag, then *pull*, calling it home to me, expending energy as necessary. I then start walking.

If you don't have any tools, think about what the tools mean, and what they do. If you know that, you can find suitable replacements, or skip them altogether and work the necessary mental gymnastics into your visualization.

Isn't that sort of approach the whole point of chaos magick in the first place?
 
 
Perfect Tommy
19:16 / 15.09.03
Fantastic responses everyone! (I've just put a miniradio my mom gave me into my 'utility belt'.)

It occurs to me that one way of being prepared, as set says, would be to do a magickal walk as you arrive in a new place: essentially, you just declare that everything is a message from the universe to you for the next 20 minutes or so, and note what you're told. So when you do run into a problem, you've already got auspicious locations, and sigils and names which reflect the local spirits.
 
 
Dances with Gophers
23:01 / 15.09.03
Learn to listen out for instinct, to seperate it from the usual mental chaff, that bit of info, chant, incantation, poem that downloads itself into yer head aint easy.
Go with what feels right/apropriate.
I once found myself in a similar situation, 1am Cairo airport, someone had picked up my luggage by mistake, a bit freaked out by the 'Drug smugglers may be executed'signs and the Police looking like special Forces. A quick "Isis help!" and talking to the airport staff saw my luggage returned to me.
 
 
Papess
01:29 / 16.09.03
"...and how do you get a quick burst of gnosis without wanking in the train terminal? "


I use a straw.
 
 
—| x |—
06:18 / 16.09.03
This is my last post and when I said “watch” above I meant it. Did anyone see?

Let me explain—not as some voice through a fiction suit with some name that has no pronunciation or something. I am speaking to you as me, Brian. This will not happen again for a long time. I am doing this because from my v. first day in this place, I have felt so totally at home in the Magick. It seems as good a place as any to take off the mask for a moment, to reveal.

To begin with making this entirely relevant not only to my opening sentence (which different people will recover meaning from in different ways based both on what they do see & what they don’t see), but also to this thread (which is always a nice topic to see pop-up!). In my life—the whole of it and not the slice that was my fiction suits—I try to be spontaneous magic(k). And here I hope that we recognize the close and intimate link between “improvised” magic(k) and “spontaneous” magic(k). I have really never been much of a ritual magician, nor a chaos magician, nor any other sort of magician. I have only and ever been the focus for the G.O.D.O.G.. This is, to decode only a surface scratch, “the grey order disorder grey.” And that brings me, for the moment, to a brief explanation of why this is my last post.

Let’s begin with how what I have done for the last twenty-four hours wrt this community has been an entirely spontaneous magic(k)al happening or event or whatever. Somewhere near the beginning I wrote, “Swing my Apocalypse,” coupled with my last post to the “Hey!” thread which said, “I have become death: the destroyer of worlds.” See, the only world we have is our own, and thus, the only world we can destroy is our own. And like the time when I got fired from a job during the week of the Tower, it was entirely by my own design and summoning that I collapsed my world here in upon itself to see what would come out. This is what we must do. This is what magic(k) is & not what magic(k) can do for us, OSISTM.

As many regulars in this forum are likely aware, part of a magician’s or shaman’s duties or roles is to tear hirself down, to rip hir own world to shreds, shake the pieces in a bag, and then throw them into the air to see the new picture to be juggled. It’s not in any way a pleasant process, and there is pain, sorrow, suffering. This is often referred to as “The Long Dark Night of the Soul,” but a modern writer and magician (Antero Alli), and I believe RAW, call it Chapel Perilous. So last night I willingly entered the Chapel to see if I’d make it through, and what would be waiting on the other side. Let me tell you some of what I’ve discovered:

My main problem with this place, this Litherland (a word I will never use again, as it was a term of endearment), is that I was living under an illusion of what this place was. When I first got here I was under a double spell of enchantment. Not only had I thought I found such a great place where intelligent people dialogue smart and sharp about interesting matters, but also, it was pretty much my first foray into the modern world wide web (did only a little bit of BBS stuff in the old days). So I was hooked, lined, and sinkered. And I fell in love. In love with this "Litherland."

But this is where, thanks to the Chapel, I have come to see through this particular illusion and the other phantoms that accompanied it. See, I always have held a naïve idealism about this place. I figure that it is a special place, full of special people, doing wonderfully special things. But it isn’t, most aren’t, and v. few here are really. I now see that for the most part this is much like any other group of humans: there are feuds and bullies, there are hands that wash other hands, and there are hands that wield the knife waiting to be plunged into a turned back. There are idiots and morons. There are assholes and fuck wits. There are fearful people, lonely people, and desperate people. There are mean spirited people and there are apathetic people (too many of these!). On the other hand, there are good and decent folks here too. Honest and straight-up. Or shy but a word a minute once you get to know them. Or gruff on the outside, but pussy-cats on the inside. Or sweet people—people simply nice even when they are trying to be mean.

I could leave my apartment, walk down the streets through the pubs, stores, and eateries, and I would encounter a pretty fair cross section of people who are basically much like most people here. There is no Litherland of green pastures, gentle breeze, and rolling hills. There is only this ugly, grey rectangular structure with sharp pointed ticks and scratches, which most of us here have some degree of skill in deciphering (some clearly more than others). That’s it. Like Mr. Fear (god bless that old man’s crotchety but typically correct and timely locutions!) spelt out for me—as the angel of death in the Chapel that tore my skin from my bones—you are not people: not in anyway that counts, I believe he said. And while I don’t agree with his whole view (because I have met and drank with some of these people—without knowing them before, and without meeting them through friends of friends—fer chrissakes I am putting up one for a week right now!), I do think that many of you aren’t real people, but because I now see this place as mostly a reflection of what is in the world (How could I have been so blind? How can some of these people continue to be so blind?!), those of you who are “not real people” to me are this way not because of pixels and bits, but because you are the walking wounded (as am I, but do you attempt to heal yourself is the question)—like most other humans on this planet. To put it in terms of PKD, people are largely reflex machines—androids—and the genuine human is a rare find. Where I figured we had a community of genuine people, it turns out, like the real world where all of you are, that it’s mostly another group of androids.

Without the gloss of my illusion, Haus is simply some asshole who works in an office somewhere or whatever and appears to get his rocks off by belittling people about there spelling or other linguistic mistakes, and not the brilliant but sharp and caustic opponent I made him out for. Flyboy, say (and you might think this is because I had it out with him earlier, but no, it is because this is how I’ve pretty much always pictured him from way early on—I don’t have images, as in pictures, of most of you, but for many of you there is a myth, or better, was a myth), is not the valiant hero’s sidekick in his tights and shiny emblems: ready to assist fallen comrades in the blink of an eye. He’s just some guy who has to pay rent or a mortgage, or maybe he’s having a fight with his lover, or perhaps he stepped in some dog shit and ruined his new loafers. Whatever. And Tom, well, he’s the guy suckered into paying the bills for this large quivering billowing mass of typically teaming and twitching human flesh—except here it is more the flesh of our minds, I suppose.

Do I sound a little bitter? Well yes, my illusion has been shattered and now I see this place closer to what it is and not what I dreamt it was. I see the dirt and squalor and stupidity that is everywhere else in the world, and previous to this, I could not admit that such refuse was in here. So, you might see why I needed to have a big freakout today: it was the magic(k) that pushed me through the comfort, and into the cold brutal reality. I know I see again (for now), but I have no doubt that the rest of the people who were also blind (in their own ways) earlier today are likely still blind now. Whatever.

I have given up caring about the community because the community I cared about was a lie. Now I care for those of you decent folks. The rest, well, fuck ‘em.

Now, these are merely some of the aspects of my personal transformation. Note also how the board has transformed: no more admin.. What is next? What will fall next? Time will tell. I also note that several good threads popped up here in the magic/k during those turbulent times. As well, my guest did a lengthly mediation on the tarot and accomplished “some of the best work [he’s] ever done.” Please don’t get me wrong here—I am not so much the egotist some would make me out for (the one’s that exist as if they are reading in a dark room with a laser pointer)—I don’t think I am personally responsible for the crazy chaotic current of good and bad that whipped around last night, I simply caught the wave and went through the door—it was in the timing. It was improvised. It was interdependent co-arising, for myself, for the current, for my guest, for Hermes Nuclear, for everyone, really, but most people likely felt the current co-arising in a more mundane manner: indigestion, a sharp blow to head by some chance accident, a nice hot bath, the perfect timing of you and your partner’s song that has gone into creating a moment that you both will remember for the rest of your lives. Or whatever. That is the way it is when you live in a world of humans. And I do live in a world of humans, even here in this B-space, with it’s B-people. So good old Jack is both entirely correct and entirely out to lunch (which is sometimes a good thing, but in this case…): sure fictionsuits here are a mix-mash of fantasy, imagination, and magic(k)—they are not real people in any sense; however, since magic(k) is the only reality, and since there are mere people behind the fantasy and imagination, all there is here are simple, scared people wanting to be held by other’s (whether in arms, in text, in ideas, in theory, in drama, and in etc.). Sleepy human beings suffering (Siddhartha nailed it in this respect years ago, ya’ know: don’t argue this point, don’t debate it, merely accept it without mind at all because debate and argument are forms of suffering and you only "verify"--if you'd even want to call it that--his satori with your objections). And to quote dead and gone Burroughs, “Human activities are drearily predictable.”

So in wake of this whole crazy go around in circles and get diZzy, I am no longer any Dr. or mod or zero, this place does not deserve an avatar of the godog. When you see me again I will be someone entirely new. You will know me, but you will not know me. And those worth remembering I will, while the rest I have already forgotten as they are as shallow as a puddle in the street.

“Hit me hard, tear me apart
To rise again is my special art
You can’t kill me.

With all the things that cut me down
Shake, break, mutilate—grind me into the ground
I’ll grow up again with the first rain, just the same.”

“It ain’t no big thing.
It’s a small thing.”

Ego ipse custodus custodio?

And it is still TIME TO STRIKE!! so PM me if you are interested. It will be the strike that doesn’t make a sound, the strike that is not so much a blow but a passing—gone before you know it, but by then it is too late.

Good luck Barbelith. Like a Mobius band, I’ll be seeing you around.
 
 
Gypsy Lantern
07:18 / 16.09.03
Don't know what your dispute is about - don't give a toss. I assume it involves some text on a screen somewhere that I'm too busy to read. This is the ghetto forum. Leave that shit at the door when you post here. Thanks.
 
 
Nietzsch E. Coyote
07:53 / 16.09.03
Don't be so flippant Gypsy, you are disappointing me. Don't look at it to see a fight. This is a thread about improvisational magick. Try to see how it is improvisational magick.

Actually read the post!
 
 
Seth
08:50 / 16.09.03
It's a rant which has been shoehorned to fit the thread. It's more a treatise on death and rebirth and the nature of this community. As a result I suggest we keep it in the Magick forum, but create a new thread around it, lest this one gets rotten. We can link it to the Imrpov thread so that it can been seen in its original context, then copy over any comments made on Godog's post to the new thread. Let me know if you have a problem with that and why - if there are no issues I'll raise the mod action tonight when I get back from my late shift.
 
 
Seth
09:14 / 16.09.03
Back on topic, and related to Illmatic's post:

Elseware's lent me a book called Last Call, in which several of the characters practise the spontaneous divination technique you're describing, only using the Tarot rather than I-Ching. I'm the biggest self-confessed Tarot spaz I know, so I'm probably not the person to talk about it in any great depth. Anyone use the technique/read the book who can contribute something of worth?
 
 
Quantum
10:25 / 16.09.03
I think it's a good idea to invent spreads suitable to the situation, which I suppose is improvisation in a sense- but Tarot is improvisational storytelling around a theme by it's very nature.

I favour immaterial foci for magick- you can't lose your tongue, or your body, or your eyes, in the same way you can lose your juju bag. If your magickal style is based on dance for example, you're not going to be seperated from it by an airport mixup.

More broadly, a clever magician should be like MacGuyver or the A team, utilising whatever is to hand to construct a useful working. If you don't have a handy ritual sword, wand, cup and pentacle then a coin, soft drink, stick and plastic knife will do. You don't even need that, simply invoking the essence of each element serves the same purpose if you have the intent and concentration- magical tools just help focus you, they are crutches you can discard.
 
 
Tryphena Absent
10:39 / 16.09.03
[threadrot] Flyboy in tights. *snigger* [/threadrot]

I've never really had tools put aside for ritual. My dream is an athame but, you know, they cost money and how the hell do I explain a ritual knife to my mother? It was bad enough justifying rosaries and the pentacle I wear around my neck. The knife waits another couple of years (I've been saying that since I was 14).

Basically all I do is improvise. I worked a teensy bit of shamanism in so that I could be without all of the ritual tools and it would be equally as effective. I have a precious stone (forget what it's made of) to use as a focusing tool and when I'm on the run the only thing I carry is my pentacle. I need the knife though, it's definitely the first thing to grace my world when I get out of my parent's house.
 
 
Gypsy Lantern
11:28 / 16.09.03
Christ, I'm the king of magical paraphernalia, it's getting out of control. I actually own a large wooden chest with metal clasps that I use to keep all of it in. I kid you not.

None of it is absolutely essential to work magic though. If you're not adaptable, what are you. I find that this sort of thing sets the scene really well, creates the narrative space in which magic can happen. There's a lot to be said for the shaman/showman cliche, and I've been giving some serious thought to adopting a ridiculous 1920's tuxedo and turban wearing persona for magic. Completely unnecessary and over-the-top, but quite funny - and probably really effective for creating a magically productive atmosphere and state of mind.
 
 
Quantum
13:38 / 16.09.03
Tools are great, I wish I had a chest of magical foci- it's a lot easier to believe if the setting is right and the props authentic. It's got to be easier to cast a spell with a magic wand and shrunken head than with a can of coke and a straw, magic and perception are so closely linked. But you don't need them, nifty props and costumes are just nice to have and help with the mindset (as GL says) and so add to the power of the working. Like having a magical name or persona (GL- love the turban and costumne idea, I just finished 'Carter beats the Devil' that would be great!)
 
 
Gypsy Lantern
13:45 / 16.09.03
love the turban and costumne idea, I just finished 'Carter beats the Devil' that would be great!

Threadrot - Yeah, I'm reading 'Carter...' at the moment (good, isn't it), which probably has a lot to do with my current obession.
 
 
EvskiG
17:01 / 16.09.03
I've practiced on and off for about fifteen years and I've never used any formal magical paraphernalia except (on rare occasions) a Sykes-Fairbairn presentation combat knife (with a lovely Egyptian design).

http://www.onestopknifeshop.com/images/lewis/lew-71496-box.jpg

I'm much more likely to use some paper, colored markers, a couple of reference books (a Hebrew dictionary and the GD rose cross diagram and correspondence tables) and a bit of space to move around in.

On rare occasions, when I've felt a need to do some work on the spur of the moment, I've had good results with just two minutes, a pen, and a Post-It. On very rare occasions, ten or so seconds of centering and concentration have produced adequate results.
 
 
Seth
21:34 / 16.09.03
The use of tools in magical work strikes me as exactly the same as that question over whether working with deities is an internal or external experience. Saying that they're just props to enter a specific psychological state is too much of a step of faith for me, because I can't be 100% certain that there isn't intrinsic power within the object. For example, my djembe is just as much an ally as my power animal, and has produced some fascinating reactions in people who have played it who also sense the drum's power.

So no, working without tools does not necessairly have the same effect. If I need to bruise my hands on the edge of a hand drum, to draw blood through playing with to much passion, to get hot and sweaty and out of breath, to feel the sub-bass from the central note, and to experience the feeling of working directly with one of my closest companions, I'll seek out my djembe - I won't get anywhere near the same results otherwise. And it's the results that are important.
 
 
Seth
21:52 / 16.09.03
(BTW - I've decided to keep Godog's comments here for the time being, unless anyone objects. The thread is back to being kinda on topic, I guess talking about tools is fairly relevant to improvisation, and also pretty interesting. Godog's actions have already claimed too much daft attention on the rest of the board without starting another thread in the Magick forum.)
 
 
C.Elseware
07:55 / 17.09.03
(A non Jos Wheadon pop culture reference)

I figure tools are a bit like dumbo's magick(!) feather.

Although, I guess there's a danger in trying to sky dive without your magic parachute.
 
 
Quantum
08:25 / 17.09.03
working without tools does not necessarily have the same effect
No, but if you didn't have your drum with you you wouldn't be completely magickally hobbled. You could use something else as a drum in an emergency, or do without a drum- you could improvise, as any competent magician can.
I think it's as much a mistake to think the magic is ONLY in the tool as it is to eschew tools and ritual and just intend really hard- you have to recognise that there is power in talismans but also in you.
 
 
Seth
09:08 / 17.09.03
Of course, Quantum, which is why most of the ideas that I suggested in my first couple of posts were things that can be done unaccompanied. Read the thread, get the context. I was responding to a more general feeling in the thread that the use of magickal tools was more a matter of psychology than anything else (which strikes me as the same mental trap as determining whether deity work is dealing with internal or external forces). A mental trap that Elseware seem intent on skydiving into...
 
 
Gypsy Lantern
09:12 / 17.09.03
The use of tools in magical work strikes me as exactly the same as that question over whether working with deities is an internal or external experience.

I think you're right. It seems to me that a lot of the mechanics of magic revolve around 'believing' in several contradictory things simultaneously, all of which could have validity. Flexibility of belief is really important.

For example, if you think that your magic pointing bone stick is just a prop to get you in the right frame of mind and focus your intent, with no intrinsic power of its own. Then it's unlikely to operate anywhere near as effectively in that capacity as it might if you genuinely believed it was imbued with occult power. Regardless of whether you think the tools are props, you still need to completely convince yourself in the moment that they're not props at all but mighty devices. If an actor uses a sword on stage, the sword might be considered a prop from one perspective, but it does nobody any good whatsoever if neither the actor nor the audience are convinced by it.

I think this is really fundamental to the operation of magic. It can be thought of as a science for blurring the line between 'real' and 'not-real'. To bring my thread-rot comments on turbans and 'Carter Beats the Devil' on topic for a minute, I think there's a lot to be learned from studying stage magic and conjuring. Illusion, tricks and showmanship can be utilised to great effect in magic - whether you're on a stage or in a temple. I think that Crowley may have been mistaken in adding the extra "k" to differentiate occult practice from stage conjuring. There's a vast and virtually unexplored area where the two overlap.
 
 
cusm
15:40 / 17.09.03
From my experience, magick done with others in group ritual is absolutely a performance art. Especially if its the sort where you have a congregation of participants there for the ride who are not directly working the mojo. Any time you work magick for others to take part in, what you are doing is 90% performance art, as you must communicate your intent and working in such a way as those watching can be in the same mindset sharing the same visuals as yourself. So for this type of magick, props are extremely useful, and the magic/magick differentation is non-existant. Sure, doing magick for yourself you don't need props or anything more than internal visualizations. But if you're working with others, you're on stage.

I've also found that even though I can work perfectly well with no props what so ever, use of props does add power to the working. They're just, well, easier. They're tools. Sure, you might be able to break a rock with your bare hands. But its easier to use a hammer.
 
  
Add Your Reply