The super-context is a good metaphor. The occult, as I teach it, is a hidden wisdom which comes about through the study of abstractions in art and symbolism, coupled with an experience of the introspective and phenomenological realms. Together, these produce wisdoms for which there are few to no words for in English. The closest we have is poetry, in which I often relate the poet to the magician.
A poet can alter reality, societies, and entire eras. They reinterpret the information for the readership, and re-arrange reality into a new light. This is where the irreality of reality gets tricky, as it's still there in its manifest form, but the user's experience has changed and s/he interprets the data from around them differently now. "Reality," as a holographic structure containing all the information of the whole broken down into any whichever fragment — such as Yeat's entire world in a grain of rice, or was it sand? — is a holographic structure because of our observation of it. Whether it is completely a subjective experience or an inter-subjective matrix is up for debate.
If you can spend time in your own mind, beyond the barriers of language, you will begin to hold on to truths that there are no words for: occult wisdoms, hidden wisdoms. Via the concentration exercises of chaos magic or the Zen meditations of Japan, one can actually ellicit an occult knowledge of aspects of their reality, such as stones, flowers, insects, geometry, colours, et cetera. This is an intuitive understanding beyond, say, the word "flower" or its aroma or colour or shape. It is all of them combined into one primal sense of what it is, but also as it is defined by you on a subtler, deeper level of mind.
It is hard to explain unless you try it yoursel… or try Salvia divinorum or other entheogens.
Also know that for every psycholocial term we have in English, there are approximately four in Greek and forty in Sanskrit. They refined the definitions that much more as they did more work with the psyche.
So back to words, it's like in the design field of typography. Good typographic design is 90% management of white space, and 10% management of the symbols and fonts on the page. You have to start looking inside-out, especially in this case of language.
The exercises are simple in concept, but take time to master. I definitely suggest trying them:
Relax yourself, sit or lie down, and try to relax your mind to its not a disruptive cacophony. Choose an object to stare at, but nothing of any huge symbolic worth (ie. religious artefact, porno mag, photograph). A flower or coffee mug or rock will do. Do not think. Just observe. By maintaining the act of persistent interaction via the visual sense — our strongest sense and most complex — the subtle interactions that make up your relation to the object on the occult level will begin to become more apparent to your sense. Not immediately, but as you state, you will find the rest of your sight blur out and it will eventually only be you and the object. That is where and when you will have the answers to questions posted in this thread.
I believe a version of this is in the beginning of Liber MMM, by Peter J. Carroll:
http://www.chaosmatrix.org/library/chaos/texts/libermmm.html |
