The way in which fan fiction operates may serve as a case study for understanding the way in which the klippot can function, specifically as the klippot of a specific operation that can take place under the auspices of the sefirot Yesod. Let me see if I can walk you through my reasoning.
I am working on a very long post about the Boston Public Library, but that work is throwing off some sparks that merit some short posts. One of those has to do with the Enneagram. I’ve mentioned before that Gurdjieff and the Fourth Way formed some of the backdrop to my youthful forays into matters mystical and magical, so I came in contact with the Enneagram a while ago. As I ws thinking about the image of the severed head, a new story on the Enneagram popped up alongside another in my news feed.
So, The Get Down. There are some subtle but persistent magical themes going on in the narrative. There are the top-hatted alien and minor characters with names like ‘Thor’*; there is the tension between ecstasy and devotion**; but right now I want to point out the way art, history, and music play out as aspects of time (magic).
I have been thinking about the Demogorgon’s birth in a scribal error alongside the Kabbalistic concern that the misuse of the alphabet can be snatched up by Satan to generate false worlds. There is that simple slip of the pen from which centuries of myth and demonolatry spring. Can we think about that slip as the action of a willful spirit eager to find a voice or a sign of the power of the letter itself, taking root in its accidental inclusion?
I have been enjoying this new album a lot. By way of introduction, you can read a little about the album’s inception over here. The album aims to fuse the musicality of the spirituals and blues with that of metal and it achieves that on melodic, rhythmic, lyrical, and thematic terms.
[This is the first of the pages being fed back into the blog. It’s a bit heady, but it has some bearing on the matter of correspondences which I will be talking about in the near future.]
I picked up the idea of the virtual from Gilles Deleuze and it is a concept that has much utility as we set out to discuss what it means to talk about the spiritual world. On this page, I am going to provide a brief introduction to the concept and its applications to occult philosophy. To get at this Deleuzian approach to the virtual I will need to do four things:
- distinguish this use of the term from another popular use of the term.
- define this term.
- detail the relationship between the two uses of the term which partially justifies the same word being applied to both.
- highlight how all of this can inform occult thinking.
Very early on in her book on medieval Kabbalism, Marla Segol raises her concerns regarding ‘popular Kabbalism’ in a footnote (the first, in fact). She addresses two prominent and popular figures in specific, the Bergs who run the Kabbalah Centre and Aryeh Kaplan. Her concerns are the concerns of a historian, but they raise an important question for spiritual-magical practitioners who are trying to remain historically informed.
More pointedly, it raises an important question for this practitioner, whose work has crisscrossed both the work of the Kabbalah Centre and of Aryeh Kaplan (much more the latter than the former, but I won’t deny either influence). I don’t take that influence to amount to an uncritical endorsement of either, but the way in which Segol attempts to exclude both from the outset troubles me.
At what points do historical and magical study converge and at what points do they diverge? How do we make use of historical information to inform our personal and communal practices?