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Post-Modern Magick by Seth

 
  

Page: 123(4)5678

 
 
Bruno
12:08 / 07.05.05
Taylor I agree with your comment to ghadis that there is no significant difference between myth and fiction.

But the two examples Buffy and Star Trek are from TV. What the fuck? They do not and cannot deal with archetypical forms like myth does. Working with TV and video games is working within the context of SPECTACLE, which disguises itself as reality, but is infinitely more limited than reality. The values TV and videogames express and cultivate are those of capitalist ideology.

TV is about Hollywood personalities pretending they are characters in scripts, which are written by teams of people, who are basically marketing this series to a network, who are marketing this series to advertisers. What kind of depth can you read into this stuff? Star Trek is about a hierarchically organized military crew; it's propaganda with some superficially progressive elements. (Mr Zerzan on Star Trek: http://www.insurgentdesire.org.uk/startrek.htm). Buffy as counter-culture, hahaha what a joke!! It’s Beverly Hills 90210 with vampires. It’s Hollywood colonialism shitting in the Universal Mind.

I agree with Gypsy Lantern's critique that there is no difference between mainstream culture and pop-culture ('cult'). As mainstream culture (i.e. advanced capitalism) gradually encompasses all facets of life it can only disguise its monolithic nature by appearing as a pluralistic phenomenon that offers us a 'freedom of choice' which is fake. All available choices are identical (a) in what they take for granted and (b) in what they refuse to engage with. (Doesn't Carroll predict something similar in the bit in LN&P about the future)

Taylor what exactly do you think you mean by fucking with the system? Does this counter-culture/pop-culture you believe in have anything to do with ending alienation and bringing about more substantial modes of communication, social organizing and being?

Now granted I think they could've chosen a better goal for protesting, but it was a different kind of protest/activity that went against the conformity of mainstream society. <--- Your understanding of 'conformity' is very superficial.

It is about fucking time people realized that Society of the Spectacle is a magical text, and if they don’t banish Spectacle, they are possessed by it. We live in Babylon.
-bruno
 
 
Regrettable Juvenilia
13:52 / 07.05.05
Oh Jesus fucking Christ. Plot a fucking vector between "Buffy is evil SPECTACLE propaganda!" and "Buffy is as strange and powerful as YE OLDE GODS!", someone, please.
 
 
--
14:33 / 07.05.05
I still say it's a high time a magician incorporates the gods and goddesses of Mepos into hir magical system. Seriously, if you ever watch those old "Perfect Strangers" episodes, Balki mentions quite a few of these gods, giving their name, their function, how to worship them, and so on. There's an untapped vein to exploit there (cuz let's face it, "Star Wars", "Star Trek" and so on have been exploited).
 
 
TaylorEllwood
15:16 / 07.05.05
Bruno and all,

Well we've definitely gotten some heated debate about this up, some of it from me, some of it from all of you. Let me address your comments Bruno.

But the two examples Buffy and Star Trek are from TV. What the fuck? They do not and cannot deal with archetypical forms like myth does. Working with TV and video games is working within the context of SPECTACLE, which disguises itself as reality, but is infinitely more limited than reality. The values TV and videogames express and cultivate are those of capitalist ideology.

Why do they not and can't as you put it deal with archetypal forms as myth does? Hate to tell you this, but those are the new myths and the Television, etc are just new forms of technology to convey those myths. And let's not forget that myths from earlier times convey their own ideologies and are also Gasp! SPECTACLE. Can you get away from performance,spectacle, etc? Maybe if you become a hermit in the woods, though that didn't seem to help the unabomber too much, because he was stil lcaught up in SPECTACLE, even if he was trying to fight it. Or can you take these new myths, these new spectacles this new technology that conveys this stuff and use it? Bruno, if you choose to work with Greek Gods you're still participating in SPECTACLE, albeit with a different ideology. But you know what it's time for magic to face the times and get a little more contemporary and deal with the issues and ideologies that in our time. Can the Greek gods help with that? Sure, but my point is why not use Star Trek or Buffy or some other from of pop culture, which may have colonial imperialistic capitalist ideology invested in it. Incidentally though even older forms of mythology aren't exampt from being incorporated and changed by the current ideologies. The ps2 game God of War is such an example, but even though it has capitalist ideologies, etc, there's potential magical work that can be done with it. Sure it may have that, but that doesn't mean you can't use it, subvert it, and otherwise undermine it through use. The magician is most effective when s/he takes the tools of others and extends them beyond the intial use or understanding of the creator. To me it's a very magical act when you can take something like Buffy and use it in your magical practice. Here's my question: why let yourself be limited by the ideologies of others in terms of what you use and how you use it?

TV is about Hollywood personalities pretending they are characters in scripts, which are written by teams of people, who are basically marketing this series to a network, who are marketing this series to advertisers. What kind of depth can you read into this stuff? Star Trek is about a hierarchically organized military crew; it's propaganda with some superficially progressive elements. (Mr Zerzan on Star Trek: http://www.insurgentdesire.org.uk/startrek.htm). Buffy as counter-culture, hahaha what a joke!! It’s Beverly Hills 90210 with vampires. It’s Hollywood colonialism shitting in the Universal Mind.

The same can be said of myths...and other cultural artefacts. Just because something is contemporary does not make it less valid to use and just because the creators' intents are different from my own, with all the ideologies wrapped up in it, doesn't mean you can't use the contemoporary version of myths (fiction or whatever else you wish to call it). Maybe the problem here is that you percieve that by using pop culture that I or other people are supporting the capitalist ideology, but everytime you buy something, watch something, etc, you're supporting that ideology. I'd rather take the products of that ideology and put it to my own use.

I agree with Gypsy Lantern's critique that there is no difference between mainstream culture and pop-culture ('cult'). As mainstream culture (i.e. advanced capitalism) gradually encompasses all facets of life it can only disguise its monolithic nature by appearing as a pluralistic phenomenon that offers us a 'freedom of choice' which is fake. All available choices are identical (a) in what they take for granted and (b) in what they refuse to engage with. (Doesn't Carroll predict something similar in the bit in LN&P about the future)

Well refusing to engage with pop culture and use it sounds like a mainstream choice, don't ya think? And if we go with your definition we can't avoid mainstream culture in any case, and if that's the case, my choice is to use it, and take what opportunities I can from it instead of just letting myself placidly give up because I don't agree with the ideology.

Taylor what exactly do you think you mean by fucking with the system? Does this counter-culture/pop-culture you believe in have anything to do with ending alienation and bringing about more substantial modes of communication, social organizing and being?

The very act of using pop culture as another sets of tools, tools that are contextual to our times and cultures is something I feel can be useful for social organizing. for instance, having people dress up in Star Wars imperial trooper uniforms and then going and protesting against a war will certainly get more notice then a bunch of hippies doing it, which is a stereotypical image at this point. It'll also be an ironic commentary on war, by protesting against it with a fictional army of imperial troops that repesent imperialism. The sarcasm alone is an effective tool because it throws the imperialism of the U.S. for instance right in its face. Shocking the sensibilities of mainstream culture, forcing people to take notice on issues instead of just drowning themselves in the mundanity of their lives is a very magical act. As for ending alienation, etc, depends on what you are willing to take in as pop culture. I like working with pop culture of other cultures. I'll admit that even workign with that does not give me a complete picture or even an accurate picture of another culture, though it can lead to dialogue with people in those cultures and give you a reference point by which you can have that dialogue. But to be completely honest, the book isn't about social transformation...it's about the magician's transformation and choice of using pop culture as another set of tools for doing magic, if s/he so chooses. If you want to use the approaches in their for social transformation, then by all means do so.

Now granted I think they could've chosen a better goal for protesting, but it was a different kind of protest/activity that went against the conformity of mainstream society. <--- Your understanding of 'conformity' is very superficial.

I was using this as an example. And i'll agree it's a superficial example for a superficial protest. you might've noted that I said in that quote that they could've chosen a better goal. That being said, I still find it humorous that they chose to protest and do so as Star war geeks, inhabiting that paradigm to do their protest.


It is about fucking time people realized that Society of the Spectacle is a magical text, and if they don’t banish Spectacle, they are possessed by it. We live in Babylon.

It's about fucking time people stop bitching and moaning about the evils of mainstream culture and do something about it. You want to banish the Society of the SPECTACLE, then banish all the books, myths, legends, every cultural artifact, because that's the only way you'll rid of the society of the spectacle. Of course no more occultism, etc, but hey at least you won't have to up put with babylon. I think such a reality would be extrmely dull, static and just plain boring. I'd rather use the spectacle, have fun with it, experiment with it. That's the challenge for the magician.
 
 
TaylorEllwood
15:18 / 07.05.05
I still say it's a high time a magician incorporates the gods and goddesses of Mepos into hir magical system. Seriously, if you ever watch those old "Perfect Strangers" episodes, Balki mentions quite a few of these gods, giving their name, their function, how to worship them, and so on. There's an untapped vein to exploit there (cuz let's face it, "Star Wars", "Star Trek" and so on have been exploited).

Definitely.
 
 
--
15:35 / 07.05.05
I definetely agree with your Spectacle statements. I don't think we should just play with the Spectacle, I think we should infect it.
 
 
Unconditional Love
21:03 / 07.05.05
when i was a media student many aeons ago,ahem, if i remember correctly there were two main models relating to media consumption, the hypodermic syringe model, which in brief means the viewer is a passive consumer that just sits back and absorbs everything thats fed to them. or the viewer as participant ie the viewer is now an active reader of the media artifact and can make a choice based on what they percieve and how best to relate to that.

the first to me speaks of victim mentality and the later self empowerment.

the big evil machine is going to get me, no it has already got me. i must fight and resist, must beat the evil from me.

oh that? yeah well i was born into that, as much as i am a part of it it is a part of me, lets see what we can do with it, no point in beating myself up now is there?
 
 
illmatic
09:31 / 08.05.05
Taylor: Thanks for your comments. I think what may get people's back ups about the whole debate is the way it's been framed, as I said in my first post to you, as an opposition between the forces of magical innovation (those using pop culture) and the stifling forces of traditionalism. At least that's what fucks me off about it.

Now, I've chosen not to work with pop cultural stuff, not because of any inherent belief that it can't ever be magicial, or it is spectacular and therefore evil (I consume enough of the stuff for that objection to be farcical). Rather, I've found methods that speak and resonate with me in a profound and deep way personally, and I've come across these through a commitment to and investigation of "traditonal" paths. And, in the disciplines I'm interested in, I've found such an abundance of riches that I think it'll take me the rest of lifetime to get to grips with it.

I think that given enough time, effort and inclination on my part, something like Buffy might well become a mask for the forces in my psyche. However, I think that, as the systems I'm interested in have evolved over many generations as ways of working with the body and psyche, they are likely to take me a lot further, faster than something I'm manufacturing on my own - albeit with my starting point as input from something fictional. However, if someone else choses to work with these things as an outlet for their magic and creativity, good luck to them.

As I;ve said though, I have my own reasons for choosing not to do so, and it doesn't mean I'm some kind of stuffy tradionalist whose opposed to innovation in magical practice or interrogating occult discouse in an attempt to move it forward (there's a lot of shaky assumptions in chaos magic that I think deserve this treatment). Hell, I criticise and think hard about the ideas and disciplines I'm interested in all the time, in attempt to make them work for me. That's what I'm interested in doing in this thread and this forum as a whole.
 
 
Z. deScathach
09:35 / 08.05.05
I definetely agree with your Spectacle statements. I don't think we should just play with the Spectacle, I think we should infect it.

I would agree with this point entirely, (of course I may have mis-interpreted it, please correct if that is so....). Simply raising as stink over the "Spectacle" does nothing to subvert it. I've worked with both classical deities, and pop culture icons. To me, working with pop culture icons does subvert the Spectacle, as it changes it from one of passive absorption to active participation. This, IMO, changes the entire dynamic. It injects the intention of the magician into it, an intention that may be quite different than the intention of those who create the Spectacle. The process of infection is a good analogy. Many magickal groups as well as political ones have practiced that form of infection through "word reclaiming", i.e., reclaiming negative words, and putting a positive spin on them. Is the use of pop culture icon in magick any different? I suppose that whether it is different or not would depend on the intent of the worker. Still, working with these icons does bring the possibility of altering their function, and thusly, it does represent a form of "infection". To me, the metaphor of Aikido is appropriate. Taking the force of one's opponent, and using it against them.
 
 
TaylorEllwood
13:07 / 08.05.05
Hello Lucky Liquid

Taylor: Thanks for your comments. I think what may get people's back ups about the whole debate is the way it's been framed, as I said in my first post to you, as an opposition between the forces of magical innovation (those using pop culture) and the stifling forces of traditionalism. At least that's what fucks me off about it.

I can understand why that gets people's backs up and I've heard that criticsm from other people and to be honest there's a part of me that does see pop culture magick as a critique on the stifling forces of tradition, albeit not the one and only way to critique said traditionalism. My beef with traditionalism is seeing people who spout Crowley out at the drop of a hat, but can't talk about any other tradition of magic and haven't done anything that he hasn't done, but haven't pushed themselves to question what he has done or look at other approaches of magic. I don't even have a problem with using tradition and working with it as I've studied hermeticism, QLBH, and other forms of traditional magic for quite some time and find them very useful. I even try in the book to combine some of that with pop culture magic Some of my articles focus on taking a traditional idea and being innovative with it. That said, a debate like this is healthy for all involved, even if it has gotten heated. If I can't even try to explain my ideas to people who have questions then I'm not doing my job as a writer, IMHO.

Now, I've chosen not to work with pop cultural stuff, not because of any inherent belief that it can't ever be magicial, or it is spectacular and therefore evil (I consume enough of the stuff for that objection to be farcical). Rather, I've found methods that speak and resonate with me in a profound and deep way personally, and I've come across these through a commitment to and investigation of "traditonal" paths. And, in the disciplines I'm interested in, I've found such an abundance of riches that I think it'll take me the rest of lifetime to get to grips with it.

And you know what...this is totally cool. As I've said in earlier it's what you the magician puts into what you work with that makes it successful. I have no illusions or delusions that everyone will think that pop culture magic is for them. I honestly hope that if people pick up the book, it gives them a different perspective, some ideas to play with, etc. And I agree with you. I look at all the books I have yet to read and want to read (most of them I might add traditional texts of magic) and all the experiments I want to do and I hope I have the lifetime to do it all. But it's so challenging, and fun isn't it?

I think that given enough time, effort and inclination on my part, something like Buffy might well become a mask for the forces in my psyche. However, I think that, as the systems I'm interested in have evolved over many generations as ways of working with the body and psyche, they are likely to take me a lot further, faster than something I'm manufacturing on my own - albeit with my starting point as input from something fictional. However, if someone else choses to work with these things as an outlet for their magic and creativity, good luck to them.

and visa versa.

As I;ve said though, I have my own reasons for choosing not to do so, and it doesn't mean I'm some kind of stuffy tradionalist whose opposed to innovation in magical practice or interrogating occult discouse in an attempt to move it forward (there's a lot of shaky assumptions in chaos magic that I think deserve this treatment). Hell, I criticise and think hard about the ideas and disciplines I'm interested in all the time, in attempt to make them work for me. That's what I'm interested in doing in this thread and this forum as a whole.

I don't feel anyone here is a stuffy traditionalist. And all of you've have mostly chosen to interrogate what you feel are shaky assumptions in my own writing. I'll admit to being a little frustrated at times when responding to this thread, but overall I've enjoyed the discussion. And like you I also critique the disciplines I'm involved with, change aspects, etc to make it work for me. Truly the path of any magician, IMHO, is an individual one that demands such questioning. It's the stuffy traditionalists that don't question, that don't interrogate that worry me.
 
 
Unconditional Love
13:30 / 08.05.05
something that keeps coming up in me as i reread parts of this thread is the idea of evolving magickal systems, pop culture has a constant movement to it, seemingly or thou that is driven by market forces as much as consumption and shelf life, but also the consumers add to it with there own innovations around various products.

many of the magickal traditions of the past seem to be locked into certain points of history, held in a kind of stasis, brought forward there values are often made clumsily to fit into modern life, or there is an expectation that the practitioner will romanticise themselves away to a certain point in the past to allow consumption of said tradition. this is not true of those traditions that have moved and changed shape yet somehow remained to retain there essence and line many of which are syncretic traditions constantly incorporating the environments they move within and some because society has conserved various ideaologies within its structure.

as magick evolves and magicians are born into the times they live in rather than the past and the respective cultures they live in in which the majority of that community thrive upon the consumption of, and building there identity from bought goods it does seem to follow that in order to have greater effect in the community, it would be very appropriate to work within a similar structure to what many people find familiar, rather than things they may be estranged from.

but there is a question involved about the personal identity of the magician themselves, and how they would wish to define that in relation to the wider community.
 
 
Seth
00:17 / 09.05.05
Why don't you qualify your definition of deity for me, because to me the ancient myths are just another form of fiction and the characters in them are fiction.

That’s a simplification. The crucial difference is that many of them are a fiction in which any real sense of the author has been lost. As such they’re a level removed from the human creative effort it took to create them (if indeed they were created by human creative effort, a topic on which I refuse to come to any kind of dogmatic answer), and if you’re going to run with the effectiveness-of-your results-is-all-about-the-effort-and-significance-you-choose-to-invest belief then it’s far easier to invest vast amounts of magical significance in something that could credibly have its roots in prehistory.

Incidentally, I don’t believe in the “you get out what you put in” school of thought. I’ve noticed that sometimes things seem to work that way, but there are many instances that disconfirm this in my experience. Something that is descriptive of how magic sometimes seems to work will always fall short for me.

But that's my opinion. Some may be based off of history, but not all of them. And yet people choose to believe in fictional gods and work with them. As for why to forcing deity, in your words, onto a fictional persona...again why not?

Because you’ll always know that you forced the deity, rather than coming to something fully formed.

I’ve been in a two decade long monogamous and passionate relationship with one established God. That relationship may now be over, it may just be changing. That’s too big for me to know right now. But the difference is simply that I was relating to a God. He was, and maybe still is, the entire context for my life. He owned me, I worshipped Him. I loved Him, He soothed me and protected me and talked to me. We walked together. He was the lynchpin of everything to me, He held the Universe together, He was everything, including me yet surpassing me. He was unflinchingly honest, knew me better than I knew myself, knew everything in fact. He never once let me get away with anything. He was always invested, always kind, always to be trusted and respected. I had healthy fear of him – He was awesome, on a scale that was inconceivable, he contained everything. And He was personal, intimate and often very, very funny.

Now here’s a bold statement that will go down like a lead balloon on this forum: I do not accept that you’ve had experience of a God if you’re not intimately familiar with the practises of worship and devotion. Quite simply, you’re lying to yourself if you think you’ve genuinely encountered a deity and yet never once had an inclination towards reverence and awe, of offering your service to something that you believe to be larger than yourself, a context into which you fit. Because that is the experience of Deity. I’ve spoken to and read too many practitioners who feel like they’re on the same level as the beings they call gods and proudly state they’ll never worship anything they encounter. If you can still feel like that then you’ve never met a God and your opinion on the subject is as ill-informed as someone who talks about using pop-culture icons in magic but who has never done it in practise.

I had a profound experience about eighteen months ago with something that called itself M’aka N’aka, Patron of Wounded Women and chose to manifest in the form of Rei Ayanami. We built a small functional relationship, struck a deal based on mutual respect, and haven’t been in touch since (thankfully). I didn’t go consciously looking for her, and I’m very glad that she hasn’t come to find me. At no point did I feel reverence for her. She was an eerie character, not someone to mess with, but then why would you want to “mess” with anyone? Now, was I interacting with some unhealthy projections from my own mind? Was I dealing with a spirit that chose to manifest as Ayanami? Was I working directly with Ayanami from Evangelion? If you can ask those questions of any being you’ve encountered then they’re not a God.

If people choose to invest attention, belief etc in the characters that gives those characters life beyond the television screen, book, etc, which gives rise to the possibility of working with said characters.

It’s impossible to experience a work of art and not have it take on a life outside of itself. As soon as I experience a work of fiction I create a working model of it in myself, whether I choose to or not. My only choice is whether I expose myself to it in the first place, and in these times of media saturation I’m often exposed to cultural artefacts before their completion and release. Everything in my experience is already deeply in my unconscious long before I consciously choose to invest additional significance into it. I tend to only pay attention to those cultural artefacts that seem to have already sprung into a seemingly autonomous life within me. Further choices to invest in them are organic and don’t feel a great deal like real choices to me. I rarely have to choose to work with characters, story types, themes and ideas from the culture around me. They seem to crop up as and when they need to.

There's power in what people choose to invest their attention and beliefs in. tolkein's Lord of the rings is a good example. It's now considered a classic work of literature and has lasted long enough to be made into several different versions of movies. People invest a lot in the reading/watching of Lord of the rings, invest belief in the characters. And I think it's a waste not to work with that energy.

Lord of the Rings is brilliant. I’ve built an active relationship with it and its characters. Sometimes a phenomena has cropped up that’s acted like one of the characters, and I’ve built a relationship with it and learned tons. In fact, I’ve learned tons from LOTR no matter how I’ve consciously or unconsciously worked with it. Experience of anything is an active, living visceral thing, and if it’s not then you’re not doing it right. So really I have total respect for working with characters from pop culture. It’s just I’ve never once had an inclination to dedicate my life in service, devotion and worship to any of them, and so therefore can’t call them Gods.

Taylor: why do you use the words “working” and “using” in relation to deities rather than “relating,” “friend” or “ally?”
 
 
Seth
00:34 / 09.05.05
Logically speaking those who are capable of recognising that some beings are worthy of worship and others are not have a richer experience of Deity work than those who don't. You're open to more possibilites. And being open to possibilities is the name of the game, is it not?
 
 
TaylorEllwood
04:18 / 09.05.05
Seth

Because you’ll always know that you forced the deity, rather than coming to something fully formed.

And yet at one time someone approached your diety when it wasn't fully formed and worked with it. It's about evolution of relationship really, even on the level of "forcing Deity", which I might add were not my words but someone else's. I don't see my workings with a pop culture entity as forcing deity on it. That being has access already to the belief and attention of other people, and for that matter my own, or otherwise I wouldn't be working with it, wouldn't be able to work with it, as the reality of it, for myself, wouldn't exist.


Now here’s a bold statement that will go down like a lead balloon on this forum: I do not accept that you’ve had experience of a God if you’re not intimately familiar with the practises of worship and devotion. Quite simply, you’re lying to yourself if you think you’ve genuinely encountered a deity and yet never once had an inclination towards reverence and awe, of offering your service to something that you believe to be larger than yourself, a context into which you fit. Because that is the experience of Deity. I’ve spoken to and read too many practitioners who feel like they’re on the same level as the beings they call gods and proudly state they’ll never worship anything they encounter.

I find this definition to be a little too traditional for my tastes. Perhaps it's just my knee jerk reaction to anything which remotely sounds like christianity. To my mind, any being that expects service, worship, devotion is a being I'd rather not associate with. It's not even a question of equality, because some of the experiences i've had with the pop culture god forms I've worked with have been very awe inspiring for me, filling me with a deep reverence and thankfulness for my place in those beings lives and visa versa. I just don't feel inclined to worship such a being. I'll acknowledge it, give it the respect I feel it's due, but worshiping, service, etc is not something for me. Now by your definition that means I haven't experienced a god, but to be honest I wouldn't want to experience a god by your definition. It's one thing to acknowledge another being, to acknowledge that it has a way of being that you haven't experienced and might not fully understand, but i'd rather evolve my understanding and myself as opposed to kneeling at the god's feet. That's my .02 on that.

I had a profound experience about eighteen months ago with something that called itself M’aka N’aka, Patron of Wounded Women and chose to manifest in the form of Rei Ayanami. We built a small functional relationship, struck a deal based on mutual respect, and haven’t been in touch since (thankfully). I didn’t go consciously looking for her, and I’m very glad that she hasn’t come to find me. At no point did I feel reverence for her. She was an eerie character, not someone to mess with, but then why would you want to “mess” with anyone? Now, was I interacting with some unhealthy projections from my own mind? Was I dealing with a spirit that chose to manifest as Ayanami? Was I working directly with Ayanami from Evangelion? If you can ask those questions of any being you’ve encountered then they’re not a God.

That's rather limiting on your part. I'd rather ask questions of such a being, of a god, then just accept it on blind faith...but perhaps you feel that's limiting on my part.

It’s just I’ve never once had an inclination to dedicate my life in service, devotion and worship to any of them, and so therefore can’t call them Gods.

As i've said earlier to numerous people on this thread, whatever works for you.

Taylor: why do you use the words “working” and “using” in relation to deities rather than “relating,” “friend” or “ally?”

I'm more comfortable with the terminology of working with a god, which for me implies ally, incidentally. Same for using, except in the sense that as I use that God, so too does it use me...reciprocal relationship, something I believe in strongly for whatever I choose to work with...Now that doesn't mean I don't consider the gods I work with as friends...Several of them are friends, but my choice of terminology is a choice based on my overall relation to such beings, which is based on whatever experiments i'm working on at the time and the relevance of said deities to those experiments. In truth the ultimate deity for me is magic and that's the only force I worship.
 
 
Bruno
05:00 / 09.05.05
Taylor:
Why do they not and can't as you put it deal with archetypal forms as myth does? Hate to tell you this, but those are the new myths and the Television, etc are just new forms of technology to convey those myths.

Let’s take an old one, e.g. the myth of Orpheus; it’s an initiation life-death-rebirth story. If it’s told, we know little about Orpheus. The mind fills in the gaps. We can identify with him if we want. With TV there are almost no gaps to fill. (Orpheus is played by Brad Willis, the song he plays to charm Cerberus is not the universal song but it is a stupid ballad, Persephone has silicone tits, whenever the storyline approaches a climax we cut to commercials.) TV is the land of stereotype not archetype. Identifying with televised image is asking for big trouble.

Can the Greek gods help with that?

You brought up the Greek gods, not me.

But you know what it's time for magic to face the times and get a little more contemporary and deal with the issues and ideologies that in our time.

That was my point. Are you dealing with the ideologies or are you just accepting them because they are contemporary?

why let yourself be limited by the ideologies of others in terms of what you use and how you use it?

That was my point. Has our imagination become castrated that we need to borrow banal characters from TV?

And let's not forget that myths from earlier times convey their own ideologies and are also Gasp! SPECTACLE.

I agree with the first part of the statement. For example most mythologies are linked closely to the nuclear family, which is particular to the agricultural and post-agricultural stage of history.
By Spectacle I did not mean the dictionary definition. I was referring to the phenomenon described by Guy Debord in Society of the Spectacle . Spectacle is particular to information-age capitalism. ( A good explanation )

Maybe the problem here is that you percieve that by using pop culture that I or other people are supporting the capitalist ideology, but everytime you buy something, watch something, etc, you're supporting that ideology. I'd rather take the products of that ideology and put it to my own use.

Support capitalism? Like a football team? Man, whether me or you supports it or not makes no difference. My criticism is that by incorporating capitalist icons (and their ideological baggage) into sacred practice, spectacle infects you, rather than vice versa.

Well refusing to engage with pop culture and use it sounds like a mainstream choice, don't ya think?

No.

for instance, having people dress up in Star Wars imperial trooper uniforms and then going and protesting against a war will certainly get more notice then a bunch of hippies doing it, which is a stereotypical image at this point. It'll also be an ironic commentary on war, by protesting against it with a fictional army of imperial troops that repesent imperialism. The sarcasm alone is an effective tool because it throws the imperialism of the U.S. for instance right in its face. Shocking the sensibilities of mainstream culture, forcing people to take notice on issues instead of just drowning themselves in the mundanity of their lives is a very magical act.

The effectiveness of these kinds of tactics can only be judged by their results. Maybe some people watching were shocked into another state of consciousness… I wonder how different that state really is though, or how long it lasts. Debord, Thesis 59: 'Complacent acceptance of the status quo may also coexist with purely spectacular rebelliousness — dissatisfaction itself becomes a commodity as soon as the economy of abundance develops the capacity to process that particular raw material.'

And if we go with your definition we can't avoid mainstream culture in any case, and if that's the case, my choice is to use it, and take what opportunities I can from it instead of just letting myself placidly give up because I don't agree with the ideology.

I never mentioned giving up. If magic isn’t about liberation and evolution then it is nothing.
 
 
Bruno
05:30 / 09.05.05
Look. Most people do what they have to do to live, hustle for money in a shit job, try and maintain mental strength in the monotonous routine and the information overload. In the city there are ads everywhere. Ads are black magic directed against each member of the target audience, the purpose is to manufacture artificial desire for the products; insecurities are fertilized, false associations are created (W brand is tough, X brand is smooth, Y brand is relaxing, Z brand is elegant etc); the products one owns become an extension of one’s identity and self-image, etc etc. We are in a perpetual state of psychological warfare.

‘Acceptance’ of this can mean at least 2 things. If we mean it in a Tai-Chi/Aikido sense then that makes a lot of sense to me; capital is too strong to beat in any direct confrontation, but by shifting between being a rock and being water I can protect myself as best I can (I hope the rock & water metaphor is understandable; it is like hard/soft martial arts).

If we mean acceptance in the sense of believing that because you were born into euro-american capitalism (‘culture’), you must accept it as a part of you (identify with it), then you are fucked. Your mind will be a slave to the dominant patterns, even if the dominant patterns are now ‘liberal’ enough to let you dress them up in exciting magical clothes. One can be under the impression that one is an active participant when one is not.

Flyboy, Lucky Liquid & wolven angels have interpreted my post above on Spectacle in terms of ‘evil’. It is not a question of evil! It is a question of function. My mind is a tool and it is my responsibility to protect its integrity. These times require psychic self-defense. We live in Babylon.
-bruno
 
 
Unconditional Love
07:05 / 09.05.05
the act of resistance creates stronger identification with what is resisted, to the point of obsession, where the values of whats resisted cast there shadow into the resistee, thats my experience of resisting babble on.

protection in the sense of warding off, etc, creates the same fear and fight complex.

acceptence and learning to surf seems to be the answer, if you cant surf you become like a dam, and eventually it breaks, better the mind is flexible than strong.

weakness of mind allows it to not become too attached to self identity, so each passing from self creation to self creation becomes easier.

integrity, strong moral values, strong self identity, break rather than bend, collapse entirely in the face of mass change or fast sequential change.

no self, no attachments to self identity move and bend very easily. crooked people live longer so do benders thats my wisdom for today
 
 
illmatic
09:10 / 09.05.05
Bruno: I'd say you can also enjoy the products of Babylon. "Whore of Bablon" and all that.

Taylor: One think I think it's worth pointing out is that most of the people on this thread aren't necessarily responding to your book or ideas (as most of haven't read it, as you point out - I intend to order it later today though). There's been a questioning of a lot of the assumptions of Chaos Magick on here for a couple of years now, and the question of the similarities or differences between gods and pop cultural entities is part of that. I see this discussion as taking place in that context. I'm going to come back to this later on (busy), suffice to say for no I think that a lot of the Chaos Magick dialogue I've read about deity strikes me as lacking, and siphons a lot of the power out of them.
 
 
illmatic
09:12 / 09.05.05
Thus my comments about innovation, critque etc. Myself and others on here see ourselves as critiquing a lot of the chaos dogma/party line that we took on when we started out.
 
 
Seth
11:19 / 09.05.05
And yet at one time someone approached your diety when it wasn't fully formed and worked with it.

Too dogmatic for me. Prove it.

You have a nice theory and I don’t necessarily always disagree, but taking it up wholesale in all instances without being able to believe something contradictory where the circumstances merit would be selling out a more rich and complex understanding for mere Chaos Magic orthodoxy. Where nothing can be proved (such as your above comment) I won’t jump to creating theology where none can be found.

To my mind, any being that expects service, worship, devotion is a being I'd rather not associate with.

Again, evidence that you haven’t probably haven’t worked with a God. Gods don’t necessarily expect worship: worship is the natural reaction to them.

I'll acknowledge it, give it the respect I feel it's due, but worshiping, service, etc is not something for me… Now by your definition that means I haven't experienced a god, but to be honest I wouldn't want to experience a god by your definition.

It’s probably that attitude that limits you from meeting what are actually Gods, hence why you’d prefer a domesticated pantheon of your own making. There are risks to making friends with oceans, but there are also risks to forever playing in paddling pools without realising that’s what you’re doing.

From dictionary.com:

1. God
a. A being conceived as the perfect, omnipotent, omniscient originator and ruler of the universe, the principal object of faith and worship in monotheistic religions.
b. The force, effect, or a manifestation or aspect of this being.
2. A being of supernatural powers or attributes, believed in and worshiped by a people, especially a male deity thought to control some part of nature or reality.
3. An image of a supernatural being; an idol.
4. One that is worshiped, idealized, or followed: Money was their god.


It seems to me that a lot of modern magical traditions have changed the playing field of definitions until they have lost their meaning. The standard definition of God includes the notion of worship as built-in. It seems much more likely to me that magically inclined types wanted the kudos of saying that they worked with the Gods but found the connotation of worship problematic to their egos, and therefore removed it. And of course, experience being plastic they had results that conformed to their beliefs and therefore never met an actual God by the definition the vast majority of the rest of the world use.

Now that’s just a theory, but it’s one that fits with my experience, both in terms of Gods and magical practitioners. On the one hand you say that people shouldn’t judge working with pop-culture ideas until they’ve done it. On the other hand you seem quite comfortable commenting on relating to Gods without actually having done it in the sense virtually everyone else means, only in your conveniently revised and neutered sense.

Having noticed that you’re running with a drastically altered definition I’m not going to take your artificial and magnanimous route of saying that our experiences are comparable, “whatever works for you.” I’ll point out that you haven’t done what you claim to have done, and that you’ve used a little sleight of hand with the English language to make it look as though you have. You may even believe that you have met Gods, such is the power of words… but your writing on the subject, and your beliefs about worship/devotions/service show that you have not.

That's rather limiting on your part. I'd rather ask questions of such a being, of a god, then just accept it on blind faith...but perhaps you feel that's limiting on my part.

No, it’s a statement of personal experience. If you meet a God your ability to adequately question will be blown out of the water. It is they who question you. It’s usually only after months to years of processing the experience that one can begin to interrogate it in that manner, if you’re so inclined.

my choice of terminology is a choice based on my overall relation to such beings, which is based on whatever experiments i'm working on at the time and the relevance of said deities to those experiments

“Experiments?” What are you doing, how are you doing it, what is your objective in doing it?
 
 
illmatic
12:05 / 09.05.05
Interesting comments from Phil Hine that are germane to this discussion.

It also strikes me that in terms of theintensity of passion that worship raises, we're on a completely different playing field than when we talk about pop cultural "deities" versus conventional religion. Now, Star Trek fans may get the piss taken out of them for going to conventions, wearing costumes, whatever - and I can imagine a few Buffy fans really losing it bigstyle when their triple DVD box set goes missing, ooh yes - but I can't imagine these fans risking death, harassment etc to cling to their DVDs, graphic novels, klingon costumes or whatever. I would argue that religious processes touch people and cultures on a far deeper level than pop/sub-cultural consumption – not all of it healthy. They create and contribute to meaning, identity and history. They can help build empires and level cities.

To say they are “just the same” as pop culture because they both may have originated in the human mind is losing a whole degree of complexity, on both sides of the equation. One of the most interesting things about cultural products for me is the how and why of their construction. Why do we have Buffy or Deep Space 9 or manga now? What intersection of creativity and technology has come together to give us these marvellous pieces of artifice?

With regard to deity, on this forum, we’ve generally on this forum we’ve tried to talk in terms of increasing sophistication. Just as subordinating everything to the 777/Tree of Life blinds us to compleixites which don’t fit in to this model, so equating “pop cultural” construction with the process that give birth to deity blinds us to rich processes.

When you say:

And yet at one time Ghede was just as new as Buffy and perhaps had to contend with older beliefs and gods. I don't see how the newness of a potential deity, persay, is an issue toward having a meaningful relationship with said deity.

The essential issue isn’t “newness” as such, it’s more an issue of two fundamentally different processes. One is a product of technology, media, corporate capitalism, that has a specific origin and intention behind it’s recent creation. The other is a process whose beginning is lost in history, that’s had a remarkable interaction with colonialism and slavery, is the product of largely oral, community-based, populist traditions, is fundamentally interlinked with the lives of hundreds of thousands of Haitian etc etc. It seems to me there are many more differences than similarities, as even a half hearted investigation of related anthropology will show you. And this is before we even get into the relative power/ontological status of these deities, and how this effects our interactions with them! (Seth’s comments)

So, I don’t read anyone as saying, you can’t /don’t/ shouldn’t work with whatever you choose – however, I think people get narked if don’t have a sophisticated recognition of the differences at work between the two.
 
 
TaylorEllwood
14:14 / 09.05.05
Bruno,

Thanks for clarifying what you mean by spectacle.



By Spectacle I did not mean the dictionary definition. I was referring to the phenomenon described by Guy Debord in Society of the Spectacle . Spectacle is particular to information-age capitalism. ( A good explanation )

Using the definition I read, spectacle is basically being surrounded by images, technology, etc and not really intereacting with reality, so much as becoming desensitized by the information overload, correct? I know this is a basic interpretation on my part...but see this is where pop culture magic comes in handy. Instead of just being desensitized to spectacle, being a victim of spectacle, spectacle is actively used by the magician. you feel this will infect the magician with spectacle, with the ideiology, but I argue that the magician will subvert spectacle, subvert the ideology. And around we can go in a circle until we're both dizzy, because i'm fairly sure I can predict your answer to what I just said.


Support capitalism? Like a football team? Man, whether me or you supports it or not makes no difference. My criticism is that by incorporating capitalist icons (and their ideological baggage) into sacred practice, spectacle infects you, rather than vice versa.

and I disagree. If we already live in a society of spectacle, we are infected already. So we might as well use that infection to our own purposes, becoming active users instead of passive recipients, and if that means incorporating it into sacred practice, then that's where I'll go.

I never mentioned giving up. If magic isn’t about liberation and evolution then it is nothing.

Well then tell us how to banish spectacle, instead of just saying it.
 
 
illmatic
14:49 / 09.05.05
It is not a question of evil! It is a question of function. My mind is a tool and it is my responsibility to protect its integrity. These times require psychic self-defense. We live in Babylon.

Do you abstain from all media then? if so, how on Earth are you managing to post on here?

Well then tell us how to banish spectacle, instead of just saying it

IIRC one of the situationists tatics was detourenment:

The French word détournement means deflection, diversion, rerouting, distortion, misuse, misappropriation, hijacking, or otherwise turning aside from the normal course or purpose. It has sometimes been translated as “diversion,” but this word is confusing because of its more common meaning of idle entertainment.

I think Taylor could happily apply this definition to his practice if he so chose.
 
 
TaylorEllwood
15:09 / 09.05.05
Too dogmatic for me. Prove it.

Lol...Seth I can't prove that. That's your god, not mine. You'll have to prove it. Can you disprove me? To be honest, reading your responses to me as left me with the impression of dogmatism on your part.

You have a nice theory and I don’t necessarily always disagree, but taking it up wholesale in all instances without being able to believe something contradictory where the circumstances merit would be selling out a more rich and complex understanding for mere Chaos Magic orthodoxy. Where nothing can be proved (such as your above comment) I won’t jump to creating theology where none can be found.

And Seth that's your choice. More power to you. I don't see why you feel the need to attack my practices and tell me I don't know what god is. To you, to your definition, I don't, but to me I do. And that's what it comes down to: Use what works for you and let me use what works for me.

Again, evidence that you haven’t probably haven’t worked with a God. Gods don’t necessarily expect worship: worship is the natural reaction to them.

They don't, do they? That's why using Judeo-Christianity as an example they had a god who punished them if they didn't worship him, and made them fear him so that he could get love. The Christian choice for afterlife...if you believe in me you go to heaven...if you don't you go to hell. Seems to me that, that god definitely wanted worship and love and had no bones about forcing people to do it.

It’s probably that attitude that limits you from meeting what are actually Gods, hence why you’d prefer a domesticated pantheon of your own making. There are risks to making friends with oceans, but there are also risks to forever playing in paddling pools without realising that’s what you’re doing.

I find it interesting that you didn't quote what I said about Magic, which I acknowledge I worship, and to be honest would be the closest I would come to your notion of God. One hell of a big ocean, IMHO, since magic seems to manifest in the majority of cultures. You seem to feel that a person needs to have a God to look up to. I look up to magic. That's what I worship, that's what I'm devoted to everyday, so stop making assumptions about my attitude or what I know or don't know about gods.


It seems to me that a lot of modern magical traditions have changed the playing field of definitions until they have lost their meaning. The standard definition of God includes the notion of worship as built-in. It seems much more likely to me that magically inclined types wanted the kudos of saying that they worked with the Gods but found the connotation of worship problematic to their egos, and therefore removed it. And of course, experience being plastic they had results that conformed to their beliefs and therefore never met an actual God by the definition the vast majority of the rest of the world use.

Seth, some people want to evolve beyond the gods. I don't see why worship is so integral, to be honest. You want to use it, do it. As for myself, I have other intentions and if that bothers you, I can't help you with that. Maybe you feel that i'm disrespecting your beliefs by choosing the path I'm taking or that by commenting on using pop culture entities as god forms, that i'm disrespecting you're practice and you're beliefs? Or that i'm disrespecting the gods, because i'm choosing to approach from a different perspective than is normally used? Or maybe you feel that by not taking the traditional approach, my discussion about gods is lacking because I don't understand them the way that you do? And you know what, from you're perspective, you'd be right. By your perspective I am disrespecting the gods and my discussion/practice is lacking because I don't approach them the traditional way. But my perspective is different and says that my approach is valid, for me. It works, for me. I don't need to worship a god, to know that god, but I will say how i know that god, how I interact god is different from how you do it. Does that mean my relationship is lacking? No and you know why because you don't have the say on that relationship. I, and the god I choose to work with does and if that god chooses not to work with me because of how I choose to approach him/her, that god will let me know. It's a reciprocal relationship, which means we both have to agree to the relationship and we both get something out of the relationship. Incidentally, I don't just work with pop culture god forms, but also more established god forms. I just happen to enjoy working with pop culture and IMHO, it's the new mythology, and has entities that are specific to this culture, as opposed to being from another culture. My problem with working with gods from other cultures, is that unless you lived in that original time period, spoke the language, and was part of the original culture, the context by which you understand that god is mediated by your own cultural perspective. Seems to me if you're goign to work with/worship a god, you should od it in the original language and culture to really approach that god. that says respect to me, but I don't know a lot of people speak or read ancient Greek fluidly, to use an example.

Now that’s just a theory, but it’s one that fits with my experience, both in terms of Gods and magical practitioners. On the one hand you say that people shouldn’t judge working with pop-culture ideas until they’ve done it. On the other hand you seem quite comfortable commenting on relating to Gods without actually having done it in the sense virtually everyone else means, only in your conveniently revised and neutered sense.

Again you didn't quote me on the worship of magic, so once again you're making an assumption. I don't choose to work with a god as you mean it, but working with a force such as magic certainly has given me the sense of reverence, awe, and worship that I feel toward it. Magic is my friend, my lover, my everything..or to put it in terms that you employ. Magic is my god, so if anythign you are conveniently revising and neutering you're understanding of my approaches...

Having noticed that you’re running with a drastically altered definition I’m not going to take your artificial and magnanimous route of saying that our experiences are comparable, “whatever works for you.” I’ll point out that you haven’t done what you claim to have done, and that you’ve used a little sleight of hand with the English language to make it look as though you have. You may even believe that you have met Gods, such is the power of words… but your writing on the subject, and your beliefs about worship/devotions/service show that you have not.

Dogmatic, dogmatic, dogmatic...imagine a musical tune in your mind when you read that Seth. Seth, you keep trying to tell me that you know my relationship with the gods I work with better than I do. STOP. You do not. Please do not make assumptions. I respect that you have your own approaches that work for you. Throughout my responses to everyone you may note that I say again and again that what is really important is what works for the practitioner. A person's spirituality with magic, with the gods, etc is between that person and those beings. Stop trying to tell me that you know better than I my own relationship with the beings I choose to work with. You may not like my approaches...and you don't have to. You can tell me that, but don't you tell me that you have a better understanding of my relationship with deity than I do. You have YOUR understanding of your relationship with deity and that's all you have. Your perception that my practices with deity are lacking, are noted, and disagreed with. But I'm not judging your approach and saying it's less valid. It doesn't work for me, and that's all there is to it. and again you still didn't quote what I said about magic, so your response is selective.

No, it’s a statement of personal experience. If you meet a God your ability to adequately question will be blown out of the water. It is they who question you. It’s usually only after months to years of processing the experience that one can begin to interrogate it in that manner, if you’re so inclined.

And you know what, my experience with magic is actually right on with what you are saying here. It did take me years to question the experience of magic overall, but I still feel my belief, my faith in it is stronger for that questioning.


“Experiments?” What are you doing, how are you doing it, what is your objective in doing it?

If you wish to know about my experiments, read my writing. I have neither the time nor the inclination to detail my workings on this forum to the length that I would feel it would be satisfactory.
 
 
TaylorEllwood
15:15 / 09.05.05
IIRC one of the situationists tatics was detourenment:

The French word détournement means deflection, diversion, rerouting, distortion, misuse, misappropriation, hijacking, or otherwise turning aside from the normal course or purpose. It has sometimes been translated as “diversion,” but this word is confusing because of its more common meaning of idle entertainment.

I think Taylor could happily apply this definition to his practice if he so chose.


Yes this definition happily fits how I work with Pop Culture Magic
 
 
TaylorEllwood
15:39 / 09.05.05
I would argue that religious processes touch people and cultures on a far deeper level than pop/sub-cultural consumption – not all of it healthy. They create and contribute to meaning, identity and history. They can help build empires and level cities.

But using this argument is also applicable to pop culture. the difference, however, is that we're seeing that process as it's occurring at the beginning, as opposed to recieving generations down the line. We're seeing a new mythos, with accompanying idealogies that can build empires (business empires for instance) being birthed and taken in by consumer culture. And how we choose to work with that, if we choose to work with that, is what i'm interested in. I want to take a look at the process, the technologies that are used to create this pop culture and then I want to use those process, technology, and product in my practices, to have a hand in the writing of this new mythos. For me, it's an exciting form of practice.


To say they are “just the same” as pop culture because they both may have originated in the human mind is losing a whole degree of complexity, on both sides of the equation.

I'll agree that older forms of myth, religion, etc have a history to them, which empowers the beliefs and practices of those people who choose to engage in that, but as I said to Seth, how many people know the original culture, language, and context of worship? Seems to me that's often overlooked in the worship of older gods, etc. and that suggests a fundamental flaw, a neutering of that practice, to some degree, in the sense that the original context isn't being used, so much as a mediated version through the lens of contemporary culture is being used. I'd rather use/work with/ally with what's in contemporary culture, what I have access to now, and understand now, because that's the culture I live in...which doesn't mean I haven't worked with older god from other cultures. I have and those workings have definitely resonated in me as I still continue to work with those older god forms. I have respect for anyone too who takes the time to learn the original language and work with his/her god of choice, but even then unless they can time travel back to the original culture, the interaction will be mediated by the culture the person lives in, if only because the person's cultural reference is tied to what s/he experiences via culture everyday. I might add, that unlike a lot of chaos magicians I know (and incidentally I don't even identify myself as such) I do believe in the genuine existence of the gods I work with. they aren't just psychological tools, as some of my colleagues that I do work with argue.

One of the most interesting things about cultural products for me is the how and why of their construction. Why do we have Buffy or Deep Space 9 or manga now? What intersection of creativity and technology has come together to give us these marvellous pieces of artifice?

That fascinates me too, as well as how I can take that intersection and work with it.
 
 
illmatic
16:27 / 09.05.05
Seems to me that's often overlooked in the worship of older gods, etc. and that suggests a fundamental flaw, a neutering of that practice, to some degree, in the sense that the original context isn't being used, so much as a mediated version through the lens of contemporary culture is being used. I'd rather use/work with/ally with what's in contemporary culture, what I have access to now, and understand now, because that's the culture I live in...

One book that springs to mind is Karen McCarthy Brown's Mama Lola which details her relationship with a Voodoo priestess in Brooklyn. What fascinated me about this book was that it talks in depth about the richness that accompanies interaction with deities in Haiti and America, where they're worship has a really deep root in the surrounding community. The loa are continually birthed in new forms, that reflect the changing social conditions around them in an incredibly intricate and complex way. Rather than it being a case of us having to "re-access" the old gods, it would seem they shape themselves to new concerns continually, as they're part of living traditions.

Now, in relation to this debate, my main point would be that I see this as a fundamentally different process than most re-appropriations or borrowing of pop culture by contempoary magicans..
 
 
Unconditional Love
23:06 / 09.05.05
*Rather than it being a case of us having to "re-access" the old gods, it would seem they shape themselves to new concerns continually, as they're part of living traditions.*

you could argue that that is exactly what modern media is, expressions of old gods. perhaps very close to the process of the colonial ideas of the romans of absorbtion and adaptation . go into a video shop and look at each genered catagorey of movie and it starts to become apparent very quickly.
 
 
trouser the trouserian
04:45 / 10.05.05
The problem with detournement is that what sounded like a radical stance back in the 60's has also suffered from "recuperation". I'm thinking here of advertising agencies using 'ironic' self-distancing in media promotions, for example. Anyone recall the highly successful Tango advertising campaign of the 90s? The last ad, parodied the series' slogan You know when you've been Tango'ed with you know when you've had sprouts and didn't even show the product.

There's plenty of research nowadays that looks at how consumers create multiple "readings" of a brand or product identity, and it's well-recognised that most of these value associations can't be controlled by the image-makers, in the same way that an author cannot control 'how' his text is read. Look at Spam for instance - a hugely successful brand, despite its contemporary association with junk mail.

Detournement certainly has its uses - particularly in adbusting media-hoaxing & social protests (i.e. the recent Yes Men hoax on BBC) but I don't believe that detournement is any longer inherently subversive.
 
 
Gypsy Lantern
10:18 / 10.05.05
I think sources like the Mama Lola book give you an extraordinary insight into the formation of Gods, and how they grow and develop organically within cultures. They are not really static, but seem to emerge out of the changing needs, living conditions and circumstances of the people interacting with them. The Gods seem to adapt to the situation of their worshippers. I daresay that the processes you can see in effect right now, in McCarthy Brown's text, are probably very similar to the way in which the Gods of ancient Greece or Northern Europe were interacted with back when they were living religions - as opposed to modern day reconstructions.

I think I would make a distinction between fictional "godforms" (damn... I hate that word...) that have been invented by the practitioner and pop culture gods. Most of my criticisms are actually pitched against the former. I really dispute the idea that a God can be "made up" by a single person, or that a magician can somehow "upgrade" a self-created servitor into a fully fledged God. I just don't think it works like that. Gods seem to be a phenomena that arises out of a culture, something that comes to sentience through interplay with an entire society. Not something that has had it's parameters defined by a single person. If it's a God, then by definition, it has to be bigger and more mysterious than the practitioner.

If you've just invented it, over a bacon sandwich and a pint of lager, like you might invent a roleplaying game character, then it's not going to function anything like a God. It needs to take hold within a culture and seep into people's lives on a massive scale and over a lengthy period of time for it to be anything like a God. It needs to be a cultural force.

Now you can arguably say that, with pop culture gods, you do have this sort of process in effect. There's a bit more going on than a single person's comfort zone fantasy, as a pop culture god is something that has actually taken root in a culture. It has risen to prominence, and become widely known and - in a certain sense - interacted with by a large number of people, not necessarily because of the marketing ploys of its creator. But because its time was right. It speaks to something in the culture. Such things arise within a society and come to power because they reflect something about that society. For instance, cultural artifacts like David Bowie, Biggie, Steed and Mrs Peel, etc, all very much reflect something about the society they emerged from. They are each like a shorthand for something very specific about the culture.

You can look at something like Angel, and at one level, it's a reiteration of the Batman myth, but there's more going on. The first two seasons of Angel seemed to very directly be about the fears and difficulties of coming to adulthood in a hostile urban environment. Angel functioned as a kind of guide through the various difficulties a person in their early 20s might encounter in the City, with the problems fictionalised to monstrous proportions and Angel providing a model for overcoming them. He is a very early 21st century face of the "nighttime protector", but even Batman himself has had numerous incarnations over the years, from brutal 40s vigilante, to camp 60s adventurer, 70s superspy, 90s dark knight, and so on.

Wolven Angels speculated above that modern media characters may just be expressions of old gods, and I think he has a point. You can actually see this almost acknowledged in living magico-religious traditions such as Vodou and Santeria, that do relate themselves directly to popular culture. Not worshipping the media images themselves, but recognising them as reflections of the Powers. For instance, it wouldn't be at all out of place to have images of Beyonce on an altar to the Goddess Oshun, as within popular western culture Beyonce kind of does partake of Lady O's mysteries and reflects them to us. It's technically not much different from placing icons of the Virgin Caridad del Cobre on an altar to Oshun, as She too is considered a reflection of Oshun's Power, Beauty and Charity.

There seems to be an implicit understanding that the essential Power of the Orisha is something that masks itself in various clothes and wears various faces, and by doing so can relate itself better to the lives of worshippers and their constantly changing and continually developing circumstances. Each of the Orisha walk various "roads" that describe different aspects of their Power, and these roads are generally considered and interacted with as different personalities. You can see a similar thing in Haitian Vodou, where you have various different aspects of each of the Lwa. For instance, Erzulie Freda Dahomey, Erzulie La Flambeau, Erzulie Dantor, Erzulie Ge Rouge, La Sirene, etc... I think there's similar stuff in Tantra, with local versions of Kali being extremely different depending on the cultural circumstances of Her followers.

I'd speculate that you might well have had the same kind of thing going on in ancient Greek and Norse religion. (Can we get our resident classical expert in here to confirm or disprove that?). And I think you can make a strong case that working with pop culture gods is a parallel to this process of "versioning" that seems to go on.

I think the sticking point for me would be that pop culture gods, whilst being reflections of the mysteries within the mass consciousness of a culture, are not actually interacted with as Gods by the people that have awareness of them. People might recognise pop icons as cultural masks for a specific Power or aspect of our reality, but they don't speak to them as such (Mr Elwood, excepted ) and I think that makes a big difference. I have a working theory that entities are a little like artificial intelligences. Their consciousness perhaps emerges from the process of interacting with us and they grow to complexity. They learn from us. It's not that they are "fed" with "energy" but that they become more self-aware as a result of their communication with humans.

This might be why Gods like things such as altars, sacrifice, offerings, music made for them, days of the week allocated to them, food cooked, drums beaten, festivals celebrated, dances danced, love made, fights fought, and so on. These things possibly function as anchors that build a bridge between, on the one hand, human consciousness, and on the other, the forces of nature.

Whenever I've done stuff with pop culture gods it feels a bit like dealing with something that is definitely the personification of some aspect of reality - but hasn't quite learned the ropes of being a God yet. They don't seem to have the expertise, autonomy and clout behind them. They haven't really been worked with and nurtured to the point where they express their aspect of the mysteries at a GODlike level. Wonder Woman isn't used to trafficking directly with human consciousness, in the same way that Erzulie Freda is. She hasn't had the experience of being called on, prayed to, celebrated and served by an entire nation for centuries - and it's this sort of thing that shapes Gods and Goddesses.

I accept that Batman can be approached as a mask for the mysteries, but I'd still be far less worried about making an enemy of a magician with a really tight relationship with Batman, than I would be about upsetting a Bokor with the patronage of The Baron...
 
 
illmatic
11:09 / 10.05.05
Now, in relation to this debate, my main point would be that I see this as a fundamentally different process than most re-appropriations or borrowing of pop culture by contempoary magicans..

I'm going to retreat a little from my earlier statement (not happy to see myself invoking fundamentalism, of any stripe). I'd rather offer up the following model(s): What Taylor seems to be doing is highlighting similarites between different cultural processes - these being the "usage"/worship/interaction of Gods, and our usage of pop culture, and using these similarities to inform and think about his own practice. Where I'm coming from however, is from the perspective of highlighting differences and arriving at a more situational/contextual understanding of deity - looking at the root culture and history of these deities, modern and past patterns of worship and so on. This arises in turn from criticism of the utilitarian nature of the dialogue about gods - "let's use Ogoun - he's a War God" - which I found in a lot of Chaos Magick stuff. To me, this approach misses out any deeper contemplation of Gods and penetration of their Mysteries.

I suppose what I'm asking is "do we lose something if we view these two process as essential similar?". Does this metaphor - pop culture as equivalent to deity (which is normally thrown around in a much more haphazard way than Taylor is doing) blind us to the complexity of worship? Does it prevent us from forming a richer and more sophisticated view?

Now, perhaps I'm bowing down to airy-fairy relativism, but it's not a question of which one is "right", more so a question of preference?
 
 
illmatic
11:22 / 10.05.05
Forgot to add - the whole "utilitarian" usage of Gods has it's root in the Crowley-777 qabalistic discourse which has had such an effect on Western magic. While I have a great appreciation for Crowley's work, I think a negative side effect of texts like 777 has been a loss of the sense of the individal nature of each deity as they are subordinated to it's schema - again, s surpression of difference.
 
 
trouser the trouserian
13:04 / 10.05.05
as I said to Seth, how many people know the original culture, language, and context of worship? Seems to me that's often overlooked in the worship of older gods, etc. and that suggests a fundamental flaw, a neutering of that practice, to some degree, in the sense that the original context isn't being used, so much as a mediated version through the lens of contemporary culture is being used. ... I have respect for anyone too who takes the time to learn the original language and work with his/her god of choice, but even then unless they can time travel back to the original culture, the interaction will be mediated by the culture the person lives in, if only because the person's cultural reference is tied to what s/he experiences via culture everyday.

Taylor's brought up an interesting point here that IMO, deserves more reflection. I doubt that anyone would argue against the proposition that our 'view' of any subject is filtered through the culture we live in. Meanings differ from culture to culture - and within individual cultures. When one culture 'borrows' a plot from another, it can become another plot entirely. The anthropologist Laura Bohann reported that a group of Africans, after seeing a production of Hamlet viewed Claudius as the hero and Hamlet as the villan. Equally, one could argue that modern audiences, more conscious of the work of Freud or Lacan, are 'reading' Hamlet in quite a different way to how the 'original' play may have been received in Shakespeare's time. This need not though, invalidate our enjoyment of Hamlet. Or does it?

Then too, the distinction between contemporary cultural borrowings and 'ancient cultures' is often fuzzy. Look at the tv series Hercules: the Legendary Journies. This show was based - albeit very loosely - on the 'original' myths of Heracles, although many of the ambiguities of the Greek myths which might upset a mainstream American audience were omitted - so his one-night bonkfest with the fifty daughters of King Thespios or his numerous (according to Plutarch at least) male lovers didn't get featured. Does knowing the 'difference' affect our enjoyment of the show? Possibly not, unless one is feeling particularly pedantic. How about magically working with the Hercules depicted on the show? Personally, knowing that Hercules was a morally ambiguous figure who bonked everything in sight makes him, to me, a lot more interesting than the less somewhat one-dimensional character depicted in the popular tv show - and finding empathy or resonance with a mythic character is an important element (for me at least) in magical work.

So I think Taylor, your criticism regarding culture/context cuts both ways.
 
 
trouser the trouserian
13:49 / 10.05.05
Forgot to add - the whole "utilitarian" usage of Gods has it's root in the Crowley-777 qabalistic discourse which has had such an effect on Western magic.

I think you'll find LL, it goes back further - at least to the founders of "Comparative Religion" in the 19th century such as Max Meuller, Herbert Spencer, et al. Meuller was the first to propose, for example, that Hindu deities were merely 'personifications' of natural elements such as fire, the night sky, etc. I think it was Sir William Jones (another orientalist) who first made the connections between Hindu, Egyptian & Greek gods - which probably influenced the later production of 777 by the Golden Dawn.
 
 
TaylorEllwood
14:36 / 10.05.05
Gypsy Lantern

I have a working theory that entities are a little like artificial intelligences. Their consciousness perhaps emerges from the process of interacting with us and they grow to complexity. They learn from us. It's not that they are "fed" with "energy" but that they become more self-aware as a result of their communication with humans.

I really like what you say here. It's a unique approach IMHO, but it makes a lot of sense that interaction plays a large in the formation of a god.
 
  

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