By Alan Chapman
The writer assumes no past wisdom, just a willingness to discover what magick bargains, but it’s obvious to someone with a heritage within the topic that Alan Chapman is drawing on a variety of adventure, from classical Crowleyean Magick to jap metaphysics, and again back to Discordianism and Chaos Magick. Chapman’s writing-style is funny, direct, seductively logical, and his enthusiasm for some great benefits of magick is either tangible and infectious.The amateur magician will certainly locate themselves outfitted to start every type of magickal operations: trance paintings, appeal, divination, or even many of the larger sorts of religious improvement. To skilled magicians, Chapman deals a subtler problem: he revitalizes magick by means of slicing it unfastened from the intense relativism Chaos Magick bequeathed, provocatively redefining it as: “the paintings, technology and tradition of experiencing truth.”
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The gospel is: 'you get what you ask for'. So when you state your desire, do not say: 'I want to have sex'. e. you will want to have sex). You need to state what you actually want to occur—like: 'I will win at the races'. It pays to be specific—for instance, '1 will have sex with a beautiful lady' would have been a more prudent example than 'I will get laid'. EXERCISE 2 1. Write down a desire. 2. Create a sigil by omitting repeated letters, and then arranging the remainder into an arbitrary, abstract glyph.
The oath can be as cheesy, humorous, pretentious or as tasteful as you like. However, be flippant at your own risk. 2. Record the results. 8 . G O T YOUR NUMBER OR: THE QUALITATIVE PRACTICALITY OF SYMBOLISM IN RITUAL B efore the advent of Chaos Magic, the Western magician was expected to study and memorise a vast symbolic language composed from various magical sources—such as the Egyptian, Hermetic and Alchemical schools—before being taught any practical magick. This tended to make magick a somewhat intellectual pursuit within many of the Victorian magical orders, with the majority of classical practitioners appearing mostly all mouth and no trousers.
EXERCISE 6 1. Invent a dance (this can be as simple or as complex as you like—from a simple swaying motion to a full-blown routine). 2. Think of something you want to occur. Mentally state it. 3. Decide that the dance means the same thing as your statement (you can do this by saying your statement out loud just before step 4— this is sometimes known as a ''statement of intent'). 4. Dance for ten minutes (or longer if you just can't help yourself). 5. Record the result. WHITE VAN M A N Everything so far, although capable of delivering the goods, isn't really...