From: The Moonshadow Area: Night Side To: Rose Dawn 10 Aug 93 18:44:06 Subject: Mcdonald'S Zombies S UpdReq |RD}Although in a restaurant, it may be a little kinky--this IS | |RD}the 20th Century and all that. ;> | +---------------------------------------------------------------------------+ if you think *that's* kinky--i draw eyes on breasts! ;) ___ MegaMail 2.10 #0 718499927771849992777184999277718499927771849992777184999277718 From: Achim Behrendt Area: Night Side To: Raistlin 9 Aug 93 22:33:02 Subject: CHAOS MAGICK UpdReq Hi > Well is that a file or a book? It is a book (a great book), and the name is PRIME CHAOS, written by Phil Hine. With Magick Regards /-\chim 718499927771849992777184999277718499927771849992777184999277718 From: Fra.: Apfelmann Area: Night Side To: Kayla Block 9 Aug 93 21:26:12 Subject: PC 7/? UpdReq Hi Kayla, > have you or are you doing any writing that is being (or has > been) published? if you are sysop just request MAGICK to receive the list with magical files.. > also, i'm wondering where the board is located that you call > from? Germany > is it a chaos magick-oriented board? Right > (could i get the phone # of it from you?) 0049-6257-7966 Just leave a note to the sysop.. With fractalic greetings and laughter * Fra.: Apfelmann * 718499927771849992777184999277718499927771849992777184999277718 From: Fra.: Apfelmann Area: Night Side To: * 10 Aug 93 22:46:20 Subject: PC 17/? UpdReq DESIGNING INVOCATIONS Source books of Magick abound with examples of invocations, but for now, it is the processes underlying invocations which are to be considered. Firstly, it is essential to build up a framework of symbols which can be employed to focus awareness onto the subject of the invocation. This is where the symbolic media and tables of correspondences mentioned earlier come in useful. If, for example a magician wished to invoke Star Trek's Mr. Spock, the first thing to do would be to research Spock's mannerisms, gestures, posture and Vulcan inscrutability, and adopt these as part of the ritual. As a further aid, a pathworking could be devised based around the image of Spock walking throught the corridors of the USS Enterprise until the magician felt sufficiently composed as Spock to under- take an appropriate task - such as debugging a computer program, which often requires unswerving logic, patience and calm - all qualities for which Mr. Spock is well-konwn. When designing verbal invocations, it is important to consider Delivery. The way we speak is a powerful way of projecting our intensions. The delivery of a speech quickly transmits to both self and audience one's degree of confidance. A fine invocation may be written, but can quickly be rendered ineffective if it is read out in a deadpan voice and punctuated by ...ers and ...ums. Words can be paced, so that speech can excite or relax the listener - which can be oneself or others. (Good delivery of an invocation serves to raise dramatic awareness in both self and others. If you think of it in terms of a feedback loop, then the more enthralling the speech, the more intense the degree of dramatic awareness, and the more people will become caught up into the ritual atmosphere. When one person, for example, is performing an invocation, others present may temporarily become the 'audience' - and participants can shift between active and passive involvement throughout a ritual. The key to remember is that, if such be your intent, everything that happens inside the ritual space can be used to enhance the atmos- phere. Try exploring the effect of pacing your speech, deliberately breathing louder, and, upon reaching the climax of the invocation, becoming breathless and adding a bit of tremble. You don't have to shout - a whisper can be just as effective (if not more so) than a loud voice. If you can successfully use your voice to project emotional tones - such as awe, reverence or passion - then those listening, both yourself and others, will pick up on the emotive undertones and become drawn into the atmosphere you are generating. As people enter different stages of trance, their voice pattern changes. Others present perceive this, if only unconsiciously, and so the atmosphere of dramatic awareness is generated. In a ritual sequence all speech can be used to project appropriate feelings which generate the group atmosphere. This is performed best when the people speaking are confident and relaxed about what they are saying. Hence the problem with (a) reading from textbooks and (b) using very long speeches. If possible, it is preferable to either learn a speech so that one dosen't need to look at bits of paper, which tends to be bothersome (especially when reading someone else's writing in a dark room or wind-swept moor) - or one person to act as vessel or channel for a mythic figure, and other participants to take on the role of celebrants (or congregation). However, in other cultures it is not unknown for several people at once to become possessed by the same deity. In Haiti, there was once a celebrated case of about 300 people all possessed simultaneously by the god Legba, who marched in protest of the political situation to the presidential residence ! In western magick, people tend to stick to one approach - usually what they've been taught in a group or coven. This is often a pity, because there are often good alternatives to be found in, for example, the study of drama or oratory. One useful element to look at is the idea of Status Shifts. We move through status shifts as a consequence of social interactions, along a scale of low to high Status transactions. These transactions also occur during rituals. During a vocal invocation, you might begin with the status position of a supplicant reaching up to a deity, and eventually act with the status of that deity, whilst others will (or should) regard you appropriatly. This often leads to a confusion of-roles, as some people find it hard to distinguish between the role someone might within a ritual setting, and how they behave outside of it. Some- one who becomes a goddess within a ritual should not be treated like one after the ritual has been concluded ! 718499927771849992777184999277718499927771849992777184999277718 From: Fra.: Apfelmann Area: Night Side To: * 10 Aug 93 22:46:46 Subject: PC 18/? UpdReq Hence the prime danger in identifying oneself with Mythic figures is one of blowing up one's ego to massive proportions. If you continually identify with a figure who reinforces some idea which you have about yourself, all you will do is imbalance yourself towards those particular tendencies. I have known at least three people become quite seriously disturbed because they worked exclusively with lunar, oracular figures who accentuated their already-present tendency to slip into passive, oracular trance states. As in all practices, an understanding and continual assessment of one's self in terms of strengths, weaknesses, and ego-identifications is necessary - especially if you are working with others in a teaching or group leader role. It's fair to say that the more that is put into an invocation, the more intenses the effect will be. There are more elements to consider, such as the use of gestures to reinforce speech; the use of lighting and props; smell, test, music and stage-setting. Of course the absence of speech can be as equally effective, as can be the use of grunts, howls and cackles. Having an infectious laugh can be a very useful skill as well - you can literally laugh your way out of some situations. Humour is an important element of ritual, which is often neglected by some of the ever-so-serious people one runs into occasionally. One approach to experimenting with invocations is to assemble a variety of speeches written by other people and try reading them aloud until you hit on a delivery that feels effective. It can be useful to tape such experiments, and even use them as background effects in ritual work. Using approriate music can also be very productive. While it's useful to look at other people's written invocations - so you can grasp the way that structure and rhythm can evolve through the way lines are delivered - it's generally considered better to use your own attempts at invocation. Not only dose this build confidence and give you a good feel for what works and what doesn't, but it allows you to build up a close contact with the figure you are identifing with. Generally, it's easier to invoke human figures than non-human ones. Using the same principles as an approach to shape-shifting, it would be appropriate for you to observe a particular animal - look at its characteristic postures, facial expression, its vocalizations, and characteristic behaviours. You would become the animal by close identification with its characteristics. The intensity of trance would probably very much depend on the degree of abandonment that you allowed yourself to have. 718499927771849992777184999277718499927771849992777184999277718 From: Fra.: Apfelmann Area: Night Side To: Raistlin 11 Aug 93 00:06:04 Subject: CHAOS MAGICK UpdReq Hi Raistlin, > Well is that a file or a book? it's a book: Prime Chaos, by Phil Hines With fractalic greetings and laughter * Fra.: Apfelmann * 718499927771849992777184999277718499927771849992777184999277718 From: Fra.: Apfelmann Area: Night Side To: Destry Ragon 11 Aug 93 00:08:48 Subject: CHAOS MAGICK UpdReq Hi Destry, > like to get a hard copy, so if you should come across a source someone posted it in this echo... > other books that would be beneficial to my quest... Anything from Pete Carrol, as Liber Kaoz, Liber Null & Psychonautic... With fractalic greetings and laughter * Fra.: Apfelmann * 718499927771849992777184999277718499927771849992777184999277718 From: Jonathan Corwin Area: Night Side To: Raistlin 11 Aug 93 03:14:34 Subject: Chaos Magick/PoMo Sent UpdReq OK, Raistlin, let me try again, and see if you can connect with this: [Original text quotations] JC> PERCEPTION IS THE GATEWAY TO THE SORCEROR'S DOMAIN. JC> PROBABILITY IS AS POSSIBILITY DOES. JC> THE STREET (just turn left at the Milky Way) HAS ITS OWN USE FOR THINGS. JC> THE DEATH OF IDEOLOGY IS THE BEGINNING OF EXPERIENCE. JC> RELEASE EQUALS ACTION. JC> GET FLUID. First things first--the simplest equation of the principles of chaos magick comes from A.O. Spare's work. At its most basic, Spare indicated that the nature of the techniques and actions of ritual had to be recognized as different functions: the techniques derive from symbolic "captures" of experience which, although useful as signifying tools, by their very nature diversify and diffuse the raw *action* (ie, experience or prime intent) of the ritual if the magickian confuses the definition of tools and action. Prime intent becomes fractionated and ineffective, eg, when the magickian insists on confusing signification (sigils, divination systems, gematria, etc.) with source. The key definition of a sorceror's mastery, after all, is the extent to which (s)he has attained self-mastery. A.O. Spare's solution was to create a format of magick wherein the signifiers (sigil, candle-burning or whatever) was reduced to the prime signifier and to focus on making action the major element of magickal acts. Raw experience, unmodulated, empowers the prime signifier and the point of greatest affect lies in the zenith of experiential impact. The purpose of the signifier, structured beforehand, is then summoned and focussed on with single-mindedness, and then "lost". A dramatic example would be a visualized sigil with some purpose, eg, to evoke a new love relationship into existence, being invoked and empowered at the snap-back of the bungee cord off the fifty-foot high bridge you jumped from. It's crucial to "lose" the sigil after the act (ie, don't let it into your upper awareness). The main reason for this is that by worrying at it you weaken its effectiveness, reclaiming the magick from the act and back into ordinary awareness where strength of purpose becomes divided. My own recommendation is, however, that you regard extreme acts (like bungee-jumping) for major operations. A major goal, after all, of the sorceror, is to create a portable, "consecrated" space. The focus is on results, and those hardly "fall" in your lap; they require some effort on the individual's part, with the ritual mainly acting as a focus to prompt the stream of consciousness and action in one way or another--this works whether you use the psychological or spiritual paradigm of magick. If you do not act on inner promptings that make an opportunity or action feel "right" you only have yourself to blame for botching the results of the ritual; they were offered, but you refused. The greatest attainment of the sorceror, then, is to be able to train up magickal consciousness to a point where it invades the state of ordinary awareness, caveat emptor. I say the last because chaos magick makes a distinction between the more sophisticated Taoistic magickal state and the more primitive, fetishistic state. The continuum between these two poles is inhabited by the psychic censor which always seeks to regress and bind the magickian to dependance on a solid-state form of the latter. Understand that when I speak of a Taoistic state, I refer not at all to any particular moral strictures or worldviews that may evolve in the so-called "philosophy" of Taoism since this may be viewed as a sophistic trick by the psychic censor to bind the individual back into a more regressed state. Rather, I'm attempting to communicate the element of empowerment inherent in mastering one's perceptual space and states, so that all aspects--body language, syntax, intent, thought-patterns, etc. may be brought to bear as an integrated whole upon the individual's task at hand. Hence, Fra's emphasis on drama and oratory among other tools. And the task, whatever the intent may be, is to create resonance; read the former again if you're not sure, but I think you understand what I mean. --> "PERCEPTION IS THE GATEWAY TO THE SORCEROR'S DOMAIN" <-- "PROBABILITY IS AS POSSIBILITY DOES" ------------------------------------ The probable course of your life is determined, partially, by what you think possible (and I don't mean chanting a simple-minded optimist/positive energy mantra). What you think possible is consequent from your belief-structure. Your belief-structure is largely other-determined (that's why it's called the "psychic censor"; it conflicts purpose and binds the individual into determined circumstances). To the extent that we gain flexibility in altering the belief-structure, we gain freedom. But don't forget! The structure is partially autonomous and wants to live ("old habits *DIE* hard"), ie, it's organic, as we are, although psychic in origin. It becomes very easy to delude oneself into the belief that one is mastering this ability to de(con)struct. The ultimate measure, of course, has to be behavior--the consequents. So, to the extent that rituals alter behaviour (your own and that of others, toward you), your magick is successful. But the tricks that may be used to fool your censor and the expansion you gain are ultimately caught onto. That makes practical magick an uphill battle-- because magiuck is organic rather than mechanic(al). "THE STREET HAS IT'S OWN USE FOR THINGS" ---------------------------------------- The attempt to recoil from the world (anti-empiricism), the temptation to recede from the *experience* of the world into static abstraction is the first major trick of the psychic censor. To dive into the world, "vulgar" tho' it may be, as Nietzsche has said, creates the saving grace, the dynamism, and renews growth. Thus, the chaos magickian does not engage in the intrigues and "high-minded" contemptuosness of others that may become a fatal flaw (except insofar as it is a part of the role, the "glamour", (s)he may be trying to enact by choice and which is abandoned upon complete in-group acceptance). The "street" keeps us honest. More later........ 718499927771849992777184999277718499927771849992777184999277718 From: Rose Dawn Area: Night Side To: Christeos Pir 9 Aug 93 07:55:38 Subject: Re: VOODOO ZOMBIES! UpdReq Do what thou wilt shall be the whole of the Law. >RD> I was an innocent young underaged waitress at a beer bar in College >RD> Park, MD, and thought it'd be cool to slide a pitcher down the length > > Hehe... wasn't the Starlight, was it? ;-) Starlight must've been after my time, but I think I get the drift...actually it was the Back Room! Although I went to Comber's for fun! > ... therefore was he shamed and spake no more. As well he should be. ;> Love is the law, love under will. RD 718499927771849992777184999277718499927771849992777184999277718 From: Issac Forrest Area: Night Side To: Fra.: Apfelmann 9 Aug 93 14:36:26 Subject: GROUPS AND SUCH.... UpdReq Per referral from another.......... I was told you may have some info regarding chaos group(s) here in San Diego.... mention of the IOT and Carroll/Sherwin has popped up more than once..... any input? I could sure use the assist.... not much available other than the Nightside echo from where I'm calling. Thanks in advance! 718499927771849992777184999277718499927771849992777184999277718 From: Rose Dawn Area: Night Side To: Jonathan Corwin 10 Aug 93 09:10:38 Subject: Re: PC 7/? UpdReq > Unless I am mistaken, the number in parentheses (x:xx/xxx) is an > internet address. You'd have to check with someone about the > internet, but there are commercial gateways out there, and it > certainly is less taxing on your phone bill ... ?? > > > --- Maximus 2.01wb > * Origin: BaphoNet-by-the-Sea: 718/499-9277 (666:666/119) No, it's not an InterNet address. The number in parenthases at the bottom of your message, for instance, is your NuitNet Node #. Were you trying to send netmail or actually access the Internet? For Netmail, not all Sysops allow their users to send it (and those that do often restrict it to Fido addresses, etc.). For the Internet itself, you either have to have access to it through AOL or similar pay service; or through a governmental entity/university. Internet addresses look really weird, something like rosedawn@ucs.sox. (which is not a real address, far's I know.) ;> 718499927771849992777184999277718499927771849992777184999277718 From: Ali Katz Area: Night Side To: Rose Dawn 8 Aug 93 22:27:00 Subject: Voodoo Zombies! UpdReq RD> > Heehee. Reminds me of our favorite sport back when I was a cook at RD> a RD> > RD> > Howard Johnsons -- seeing how many walls we could bounce frozen RD> > hamburger patties off of and still hit the grill. Usually we RD> missed RD> > the grill. RD> RD> I remember HoJo's! I'm glad I never dined there. Long ago & far RD> away, I was an innocent young underaged waitress at a beer bar in RD> College Park, MD, and thought it'd be cool to slide a pitcher down RD> the length of the bar to the dude at the end who ordered it. RD> Unfortunately, the drunken slob--I mean the loyal customer--forgot RD> the heads-up rule and it crashed all over the floor and splattered RD> the people near the bar in a hail of broken glass and watered-down RD> Bud, messing up their Disco Duck finery. Nostalgia! This brings to mind a fairly disgusting incident which happened at a truck stop where I (briefly) worked while in high school. We had been having a bit of trouble with marauding rodents. Then, one afternoon just before coming on shift, I was in the dining area when there was a loud BANG from the vicinity of the kitchen. Looking in the serving window, I saw one of the cooks standing there with blood splattered all over her apron. Natural hero that I am, I of course dived under the nearest table. After a few seconds of dead silence, some customers - local modified motorcyle enthusiasts, as it happens - started howling with laughter. I ventured a peek out from under the table and saw the cook, with a disgusted expression on her face, take off her apron and toss it away. There was no blood on her blouse. Here's what happened: she had just put a plate in the serving window for the waitress when a big rat jumped up and grabbed a french fry off the plate. The cook had reflexively grabbed a big iron skillet and flattened him. We got nailed HARD by the State Health Department a few days after that. This copy of Freddie 1.2.5 is being evaluated. 718499927771849992777184999277718499927771849992777184999277718 From: Grendel Grettisson Area: Night Side To: Fra.: Apfelmann 9 Aug 93 23:34:00 Subject: PC 3/? UpdReq > P A R T O N E > A C H I E V A B L E R E A L I T Y Was there an introduction (marked PC 1/? and PC 2/?) that should have showed up as well? If so, they never made it. Just this (PC 3) through 16. Wassail, Grendel Grettisson 718499927771849992777184999277718499927771849992777184999277718