I’ve had them on my mind most of the week, since completing the geomancy page on the relationship to the tree of life diagrams, because I had to gesture to them there. I knew there was more to discuss, but I didn’t quite have the conceptual apparatus hooked up to the experiential apparatus, so I put it on the back burner. I can’t recommend that enough, really. Once you have taken some time to elaborate an important bit of work, step back and let the release of it open up the next step in the work to be discussed.
I keep turning over the relationship between force and culture over in my head. It’s an old concern for me, and Gordon’s recent post about the potential failures of multiculturalism as a conceptual apparatus for dealing with the lived reality of cultural diversity has helped catalyze a few insights out of the churn.
This plays against the notebook post about the great mother. I don’t want to conflate the ancient Mediterranean with the more contemporary Polynesian societies, but I think between the two we can glimpse the lineaments of a human potentiality that isn’t reducible to these specific cultural moments. I want to type it out and see where it goes. Notebooking, so don’t put too much weight on this. Similarly, try not to read this romantically, as a utopic form of social life. It isn’t; but it is another form that might inform our future.
Damn, can I rave about this little game for a moment? The way in which it inverts the tropes of a lot of magical literature gracefully, unargumentatively, with sincerity?
That the first spell is about purification and finding a sense of beauty. That the whole game is a delightful testament to Venus-Netzach, to Puella and Amissio.
Seriously, read it (linked at the top of the post). It is only 5 loosely formatted pages.
Notice the lack of hierarchy, beginning with the instruction to avoid the magic shop and its snooty ingredients. Even in teaching, the teacher enters the student’s space as a guest, the student is instructed to practice on their own so that the magic is theirs and not under a teacher’s command. Don’t show off as teacher, trust the student to find their way. The play of truth, trust, secrecy, play, and becoming delights.
The instruction to listen to the work itself, to the ingredients and the space, to find yourself, as a teenage witch girl, within the working. Consider, too, the way in which the apparatus can be changed to dramatic effect–be a teenage witch boy, be an old wizard. Compare this with the Picatrix/Gayat Al-Hakim and its games of dress-up.
Damn. How wonderful the way it throws light upon the force of Venus in so many spiritual operations. When you become that other thing, put on the clothes, you are on Venutian soil. Don’t underestimate that. At all. Venus will make a fool of you. Venus honored crowns foolishness with truth, though.
“That something is a fiction doesn’t make it any less real.”—Teen Witch
This may be the best bit of chaos magic I’ve seen in a bit. That it doesn’t call itself magic is even better.
This is a clever, clever little key.
It has been a while since I talked about the tree of life/coil of life, hasn’t it? It is a useful symbol and there is a mobile and vitalist aspect to it that often gets obscured in the (overly) formal habits of Neoplatonism that yielded us its most popular expression.
Dreams of Adama-Zeus, of the thundering bowling ball, stumbling on a blog post about consecrating sacred space to Jupiter on Mt. Higby–it’s probably time to talk a little about Chesed and the pillar of God’s Mercy. While the discussion of the Tree of Life usually leads us up and down the lightning path, my work has led me to emphasize a different way of gathering the sefirot together. Rather than emphasize the middle pillar as the direct route, I tend to focus on it as the locus through which the tree comes into existence, it’s orchestators, the left and right hands (a distinction which, due to a quirk of my education, I associate with Zora Neale Hurston of all people).