I discuss how to create a personal cosmological system of magic and what the benefits of creating such a system are, as well as how it can transform your overall approach to magical work. I share an example of a system I’m currently refining and developing and the medium I’m using to represent the cosmological system.
Processes for mediation of planetary and astrological influences
In this video I discuss how I use sound, scrying and pentacles for the purposes of directing and focusing planetary and astrological influences. I also discuss the purposes of the overall purpose of these processes in relationship to ongoing work I’m doing with the sphere of art.
Integrating Qi Gong into Magical Workings
One of the activities I’ve lately been doing, while performing the Sphere of Art, has involved doing some of the Qi gong movements I’ve learned. I was inspired to do this one day, just for the sake of seeing what if anything would happen if I started integrating qi gong into the SOA. I did this with two different Qi Gong movements, Cloud Hands (affiliate link) and Heaven and Earth Qi Gong (affiliate link) and what I found is that with one of those moments it seamlessly integrated into the SOA work, while the other did not.
Elemental Balancing Ritual Creativity Month 21
6-23-2020 Yesterday I switched over to the supernal of Hod, Netzach, and Yesod. Appropriately enough as well I began learning more qi gong in relationship to the placement of the feet and how to move from the hell to the ball of the foot and back again and how that movement directs the chi. I think this is appropriate because this supernal is very much about the movement going back and forth.
When I did my qi gong exercises I felt the subtle movement of the qi moving up and down my body as I shifted my feet. It was fascinating to feel and it made me appreciate again how important it is to be in the body and be present with what you are experiencing in the body.
Elemental Balancing Ritual Creativity Month 19
4-24-2020 This month I switched over to working with Kether, Chockmah and Binah, with the associated archangels, planetary energies etc. The focus of the meditation has involved being present with all three sephiroth and the paths that connect them, while opening myself to the experience of all that being mediated through me. It builds off what I’ve previously done with an aim toward encompassing the entire experience.
Along with that, I’ve been continuing to do Gods play in the clouds Qi gong and the basic Bua Gua walk I’ve learned. What I’m noticing is a distinct change in my chi and ho the energy feels. It’s meshing with the sphere of art work as well. I feel like this is an integral part of the path forward with this work.
4-26-2020 Working with the supernals is different from working individually with the Sephiroth. You’re dealing with the interplay of energies, which can be its own thing, it can be tempting to sort it out, when in fact, it just needs to be experienced as its ow thing. It’s a good reminder to not control the experience, but instead simply be open to it.
On-going experiments with magical tools
A lot of my magical work, of late, has involved the use of magical tools. In the past, I’ve gone through periods of time where I’ve been very minimalistic in my use of magic tools, but as with anything else, I find it useful to change up my routines, especially if there is justification in making the switch. Over the course of the last year I’ve been working with alchemical substances and pentacles and I thought I’d share an update focused on around how I’m using these tools and how that usage is evolving because of the work I’m doing.
Elemental Balancing Ritual Creativity Month 13
0-22-2019 I am creating a drawing of the archangel Khamael for this month’s work with Mars/Geburah and of course Khamael. I’m also watching one of my favorite movies, A Beautiful Mind, which is a biopic of sorts about John Nash, the eccentric mathematician. I like the movie because I can identify with the character, both in terms of his awkwardness with people and the unusual perspectives he used with his mathematic work. And I can appreciate his struggles, because of my own, though mine aren’t the same as his. I know what its like to be on the edge, to flirt with madness as you pursue genius, as you pursue the distinctive ideas that matter, going against the grain of conventional ideas to discover the potential that lies within the unconventional. I also know what its like to let my own arrogance delude me, and the subsequent fall that can happen with such delusions. At some point in the movie, his roommate tells him that his problem isn’t in the room he’s in, but in the world out there, that he has to discover the problem that other people have. It’s advice I resonate with. It’s what lead me to explore magic from a process perspective, because the problem I’ve found again and again is that magic isn’t approachable from an esoteric perspective. What point is there to practice magic if the work is harder than it has to be?
And I know the doubt all too well that one feels when what you’re trying to pursue doesn’t seem to work or come together. It’s taken me a long time to find what works, to discover the path forward. It’s involved failing and falling, and then climbing back up because I won’t give up on my ideas, on my work, and on the magic. It’s required discipline as well, finding the routines that work and sticking with them even when in the moment there has been despair. Now I am the phoenix rising from my own ashes, and from the hard earned and learned experiences that will always ground me by reminding me to stay humble, while pushing me to continue exploring the edge and embracing the unconventional.
Elemental Balancing Ritual Creativity Month 12
9-22-2019 I switched over to Tiphareth/Michael/the Sun yesterday. What’s interesting is that as I go up the ladder, the transitions are less overt, but nonetheless experienced. It demonstrates again that you shouldn’t get caught up in an expectation of what an experience will be. Let the experience happen and let it speak to and through you.
I’m reading Sacred Economies, which explores the relationship people have with money. The author makes some really interesting points about how money depersonalizes are relationships with the things we buy, because those things become replaceable. He also links this to scarcity, specifically how we can never have enough of money because of how we use it to replace things, instead of treasuring what we have. I see some of my own habitual thoughts about money in what he shares and its eye-opening, because I see how in turn that has stopped me from perhaps appreciating what I have as much as I could or being a good caretaker. If its replaceable, do I really value it? Something to consider, though on the flipside, I also recognize that in fact I am careful with my things precisely because I recognize the value of them in terms of not just monetary cost, but also how I utilize them in my life.
An example of a long running magical working and how its shaping my life
I wanted to share an example of a long running magical working I’m doing and how its shaping my life. I think its a good example that illustrates the value of long term workings and shows how they can proactively enhance and improve your life.
The working is the Sphere of Art, which I first learned about a few years ago, from R. J. Stewart. I began working with the Sphere actively when I started memorizing the chants in the fall of 2017. I chose to memorize the chants because I felt it would help me integrate the sphere into my memory, and consequently embody it. This is also the practice recommended by R.J. Memorizing the chants also served to introduce me to the archangels associated with each chant. This allowed me to get to know them further and paved the way for the actual work of the sphere. When you memorize the chants you condition your mind, body, and spirit to become open to the sphere and how it will interact with you.
Elemental Balancing Ritual Creativity Month 8
5-24-2019 Yesterday I started on the next phase of my work with the sphere of art. This is work I’m developing on my own, independent of what R.J. Stewart has already shared. This month I’m working with the archangel Sandalaphon and the planetary/underworld energy of the Earth. I’ve decided that this will help me build up the correspondences further as well as refine the sphere of art further, in terms of how it can be worked with.
5-26-2019 When I do my meditations with Sandalaphon, I’m using the elevated alchemical materials for Carbon, which represents Earth/underworld. I’m actually thinking of Malkuth as the gateway to the underworld, which might seem odd, until you consider that is where the seeds, minerals, etc are buried, where life begins and in one sense the underworld is as much a part of that process as anything else.
Archangels, mediation and cosmology
Over the last year or so I’ve been doing a lot of work with R.J. Stewart’s Sphere of Art ritual. With the Sphere of Art you create a sphere by working with the four elemental archangels. I’ve modified the SOA working to include three additional archangels, one for the underworld, one for the cosmos, and one to tie it altogether. This modification hasn’t been done lightly, but rather has occurred as a result of a careful reading of both the Sphere of Art and works by William G. Gray who references the other three archangels extensively.
Some further Thoughts on Shielding
Recently Mike made a post on his blog mentioning my post on shields, and there was some interesting commentary that occurred as a result about whether shields were really effective or not. Several people argued that while shielding protected you it also didn't allow you to interact with the world as effectively. Ananeal argued that:
Working shielded makes your magick less effective in terms of influencing material events. Even if you put up a shield that’s perfectly permeable to your own magical workings, which takes some skill, it still takes some of your energy/power/strength/whatever you want to call it just to maintain the shield.
He then proceeded to mention that he'd developed specific entities to take care of magical protection and that he also did a daily regimen of practices. The points that he and the other commenters made were valid ones, but I've never had any of the troubles with shielding that they suggest occur.
Like Ananael I do a daily practice. It consists of Tumo the raising of psychic heat, which I generally use to "wake up" my internal energy, and a combination of Taoist Water Breathing used to dissolve any internal blockages and the Zeroing technique that William Gray writes about in Magical Ritual Methods. There is a derivation of that technique developed by R. J. Stewart called the Sphere of Art. The zeroing technique involves creating a space of Zero Time, Zero Space, and Zero Event, essentially a space/time where nothing exists save the practitioner AND what the practitioner chooses to bring into that space/time. I use this technique with my magical work in general and it can, for all intents and purposes be considered a "shielding" technique.
Now when this technique is used it does serve to create a very specific space/time that excludes anything not brought into it by the practitioner. However the beauty of it is that you can bring into it exactly what you need to work with, be it an entity, possibility or something else. Additionally, what is also significant is that when you wrap up the magical working, and return that space/time to regular space/time, you merge it with and embody it into reality, making a seamless transition where there is no resistance to the possibility being manifested. That problem mentioned in the comments about not connecting to the world or being able to effect material events? Not a problem with this technique.You draw in the event you want to affect, as well as the possibility you want to use to solve the problem, work the magic and mesh it into your own identity, and then release the zeroing space/time, or sphere of art and allow yourself and the magic to fully reintegrate into the world around you, embodying a new reality in the process.
Back when I did shielding in other ways, I also had my shields set up so that I didn't have to maintain them. I let the influences, people, etc that were trying to interfere do the maintaining for me. Always worked like a charm and can be used with wards as well, when shielding a place. The shields only activate when something directs energy that would be harmful or distracting to the magician. And those shields are fed by the very energy, influence, etc being directed against them. Simple, effective, no draining of your energy required.
And my point in mentioning all this is simply that if you know what you're doing, a given act such as shielding shouldn't have any of the problems that the people mentioned in the comments. Defining a technique by its limitations means you accept those limitations and don't question them. While you should know what the limitations of a given technique are, define it in terms of what it could do and then experiment! Don't settle for explanations offered by others about the limitations and problems of a given technique. There's always a way to solve the problem or limitation of a given technique if you are willing to experiment. I only encountered those problems when I first started practicing magic and when I encountered them, I got curious and decided to see what I could to fine tune my shields and avoid the issues they mentioned in the comments. It took a bit of a work, but its nothing that anyone couldn't discover, provided they are curious enough and willing to experiment with a given technique. Why settle for allowing a technique to limit you? My answer: Don't settle...experiment.
The value of limitation in magic
The first time I encountered the principle of limitation it was in The Cube of Space by Kevin Townley, where he discussed a little known quabalistic glyph and the principle of limitation as it applied to magical work. Recently, in reading R. J. Stewart's The Sphere of Art 2, he also discusses the role of limitation in magic:
Only when we understand how protected, how beneficially limited we are, in our sacromagical work, can we begin to be truly effective. In the classical magical worldview, such wise limitation is often associated with the North, the cosmic Laws of Being the element of Earth. Such limitations associated with Earth require that to take form we must limit force.
It's a point well made that often isn't as appreciated as it could be. Limitation has value as a principle precisely because the movement from potential into reality involves the focus of force into the creation of form. Magic isn't about tossing fireballs or levitating. It's about the focus of force to create measurable results or changes within a person's life, but even change is limited to some degree by the physicality in which it is expressed in.
The realm of ideas is also the realm of endless possibilities or chaos. Nothing is true and everything is permitted, but without limitation all that exists is endless potential. The change from possibility to reality involves some form of limitation. This is why a magical working is really a descriptor and definer of the possibility being brought into reality. In other words, a magical working in and of itself limits the expression of possibility into specific results. The benefit of this is that you achieve a specific result that can be applied to your life, other people's lives etc. The more improbable your possibility, the harder it is to bring into reality, for the simple fact is that it requires more "energy" to overcome the distinct limitations that we deal with on a practical level. At a certain point the exertion of so much "energy" becomes more and more impractical.
Limitation provides an awareness of boundaries, but also provides the magician something to strive for, in terms of bending the rules. While force must be limited in order to manifest form, drawing on force is necessary to create form. Potential doesn't become reality unless force is applied to potential. The realization of form, or the result, is due to the application of force to potential, shaping it, defining it, limiting it, and thus creating form. Force is needed to create form, but the application of force necessarily is a fixation on a specific form or result.
Limitation, in and of itself, is a form of force, in the sense that the limits we encounter actually serve to create possibilities that we can interact with. Sheer potential, which has no limitation, can't really be worked with, until some form of limitation is imposed on it. A blank sheet of paper is raw potential, but once you draw a line, you've limited the potential and started to create the form. The limitation of potential still creates possibilities, but those possibilities are defined by the limitation, and have a relationship with it. The exploration of that relationship is what allows a magician to discover possibilities and begin to move them from potential into reality via magic.
Book Review: The Scientific American Healthy Aging Brain by Judith Horstman
This was a fascinating book to read because of the information it provides on the brain in general, as well as what occurs as your brain ages. The author provided useful advice for keeping your brain sharp as you age and reducing the risks of Alzheimers and Dementia, as well as explaining what types of activity keep the brain stimulated. What I enjoyed the most was how the information was presented without a lot of technical terms or jargon. Anyone could pick this book up and learn a wealth of information about the brain and how it works as well as how aging effects it.