From Aleister Crowley’s ‘Magick’ there is a brief discussion of the nature of Magickal cause and effect.
In summary – the efficacious nature of Magick and its practices is not necessarily to ‘directly’ effect a result. i.e. Magick in the high fantasy Harry Potter sense of pointing wands and fireballs erupting may be misleading. So in what sense can Magick be said to actually cause something to happen? Well, this is the bit I like as it chimes in perfectly with everything else I have uncovered so far! It works by transforming the agent, the relationships between agent and the world, and hence the world, making them all into the kind of things which accord with the will of the Magick user.
To clarify: I might perform rituals to focus my will on a particular task, build confidence and strengthen links with others who may assist in doing my will. But do the rituals ’cause’ the task to happen? Certainly the mental and emotional focus and strengthening of relationships with others assists in accomplishing the task.
This is why a spell that summons a person to you may ‘work’ even though the person in question started on their journey to visit you BEFORE the spell was cast. Practicing such spells makes you more powerful. The holistic nature of Magick is evident here – it thrums through all the strands of symbolism and power that guide and shape, a power that subtly whispers but in its crescendos there is indisputable puissance.
This touches on the purpose of prayer and worship too: By seeking communion with the divine will we are not necessarily diminishing ourselves by subjecting or demeaning what we are. Rather, we are becoming vessels dedicated to actualising divine will – our will. I think many people have conceptions of worship that stereotype and ridicule, alienating and stifling the possibility that it is something very important, practical and essential. I remember my GCSE Religious Education teacher saying something which stuck with me: Worship is ‘Worth-ship’, about showing how something is important to you. To those who remain Atheist and Agnostic as anything other than a reaction to established religious stereotypes I ask: What is it that you live for? What makes it all worthwhile?
Focus on those things, craft yourself about them, respect and celebrate them. After all, that is worship.
Neonomicon and its prequel ‘The Courtyard’ are both graphic novels written by the acclaimed storyteller (and bearded dude) Alan Moore. Warning: Some spoilers may emerge! Details on the Wiki.
As most of the story is outlined in the Wiki article, I’m going to stick to personal impressions.
1. It’s novel and graphic for a graphic novel! There is weird sex and rape, Lovecraftian nightmares and an interesting twist on traditional Mythos understanding. It received press when a library was prompted to censor it for its depictions – though frankly, an age rating on it would probably have avoided all that anyway – and after Moore’s ‘Lost Girls’ it’s clear that he has no fear of pushing the boundaries, making him one of the most interesting writers today.
2. Concepts are good. The prequel shows the descent into truth/madness of a federal occult investigator, and links in the significance of language. Neonomicon carries on that linguistic vein and promotes the Lovecraftian-sex theme.
3. The rape-orgy scene is very well done – both shocking in its topic and humane in execution. The characters are rendered as fat, skinny, old, young, mixed races etc. A great deal of the horror is the everyday nature of it.
4. Artwork is appropriate for the story, calling for beauty and lumpiness with a spattering of gore. The ‘Gargouille de la mer’ is a wonderfully brutish rendering, and effects a poignant death scene.
5. Inversions in the plot. There are lots of these, and I have always been fond of stories where the initial character point of view shifts and inverts as they experience the world. Agent Brears is rescued by the monster from the murderous humans. Agent Brears faces down the institutionalised murderer as she becomes a much bigger bee-atch than him!
Not many of these really.
1. That is was over too soon perhaps!
2. The graphical and Lovecraftian nature of the story will likely deter many, but given the interesting and challenging concepts contained perhaps that was unavoidable.
I recommend the read to any like minded souls!
[Foreword: Though the language may seem abstract and probably pretentious, this piece is aimed at encouraging a possible reinterpretation of religious text in more practical terms. I hope you can bear (with) it!]
This came back to me recently, having touched upon it during my Uni days. The problem is outlined at http://www.slideshare.net/aquinas_rs/biblical-moral-dilemmas and summary below: God tested Abraham. He said to him, ‘Abraham!’ And he said, ‘Here I am’. He said, ‘take your son, Isaac, whom you love, and go to the land of Moriah, and offerhim as a burnt offering on one of the mountains that I shall show you.’ Genesis 22:1-2 In Genesis 22 Abraham takes his son Isaac to be sacrificed as God has commanded (a ram is offered in Isaac’s place). Abraham and his wife Sarah had waited a long time to have Isaac. God had promised them a child in their old age and yet God asks Abraham to sacrifice him! Even if it does not raise moral questions, it is a least counter-intuitive. But Abraham does not falter. He takes Isaac as commanded and it is not until Abraham raises the knife to kill his son that God intervenes. Abraham’s willingness to kill Isaac is enough for God to know that the patriarch would not ‘withhold his only son’ from him. A ram is conveniently found in a thicket and offered in Isaac’s place.
The basic understanding of this story seems to be that it was about demonstrating Abraham’s great faith and willingness to sacrifice his son in obedience to God, who lets him off at the end. i.e. God would never actually demand such a sacrifice as it is patently horrific, but it serves to illustrate the kind of strength of will that faith may require. However, there are other puzzles arising from this scenario if we consider it as a hypothetical situation where divine and mundane morality conflict. i.e. What if God actually demanded such a sacrifice? (more…)
There may come a point in an organism’s development where it becomes able to extensively control its own environment to the degree that external threats are pretty much nonexistent. At this point the question arises: ‘What to do?’
I saw Cloud Atlas recently. Twice. I have read a bunch of reviews for it, which are pretty middling, describing it as many things. Dodgy prosthetics. Trite moralising. Overly long. Disjointed. Ambitious failure. Feel free to chart these out yourself…
I agree that it was ambitious, and I agree that it failed to reach the mainstream, but I was very impressed. A lot happens in the 2-3 hours of the film, and even more goes on behind the scenes. The cinematography was lovely, and the music too. My take: We are witnessing the lives and interactions of a group of souls across several generations. In addition, certain souls remain typecast in fairly constant roles, whereas other seem to change and develop. See the table below (from the Wiki):
|Actor||“The Pacific Journal of Adam Ewing” (1849)||“Letters from Zedelghem” (1936)||“Half-Lives: The First Luisa Rey Mystery” (1973)||“The Ghastly Ordeal of Timothy Cavendish” (2012)||“An Orison of Sonmi~451″ (2144)||“Sloosha’s Crossin’ an’ Ev’rythin’ After” (2321)|
|Tom Hanks||Dr. Henry Goose||Hotel Manager||Isaac Sachs||Dermot Hoggins||Cavendish Look-a-like Actor||Zachry|
|Halle Berry||Native Woman||Jocasta Ayrs||Luisa Rey||Indian Party Guest||Ovid||Meronym|
|Jim Broadbent||Captain Molyneux||Vyvyan Ayrs||N/A||Timothy Cavendish||Korean Musician||Prescient 2|
|Hugo Weaving||Haskell Moore||Tadeusz Kesselring||Bill Smoke||Nurse Noakes||Boardman Mephi||Old Georgie|
|Jim Sturgess||Adam Ewing||Poor Hotel Guest||Megan’s Dad||Highlander||Hae-Joo Chang||Adam / Zachry Brother-in-Law|
|Doona Bae||Tilda Ewing||N/A||Megan’s Mom, Mexican Woman||N/A||Sonmi~451, Sonmi~351, Sonmi Prostitute||N/A|
|Ben Whishaw||Cabin Boy||Robert Frobisher||Store Clerk||Georgette||N/A||Tribesman|
|James D’Arcy||N/A||Young Rufus Sixsmith||Old Rufus Sixsmith||Nurse James||Archivist||N/A|
|Zhou Xun||N/A||N/A||Talbot / Hotel Manager||N/A||Yoona~939||Rose|
|Keith David||Kupaka||N/A||Joe Napier||N/A||An-kor Apis||Prescient|
|David Gyasi||Autua||N/A||Lester Rey||N/A||N/A||Duophysite|
|Susan Sarandon||Madame Horrox||N/A||N/A||Older Ursula||Yosouf Suleiman||Abbess|
|Hugh Grant||Rev. Giles Horrox||Hotel Heavy||Lloyd Hooks||Denholme Cavendish||Seer Rhee||Kona Chief|
Hugh Grant and Hugo Weaving play characters bound to order and consistency, the former as some kind of profiteer who works the system to his advantage, the latter as the defender of the status quo. Weaving’s Nurse Noakes was exquisite! By contrast:
Tom Hanks starts off greedy, then works his way towards happiness at the end.
Halle Berry is questing for truth, becoming increasingly empowered towards the end.
Jim Sturgess starts off struggling to develop a moral backbone, and towards the end is increasingly empowered in defence of his ideals.
Doona Bae starts off as Jim Sturgess’ love, meekly sharing his moral sensibilities, and is elevated to godhood at the end.
There are lots of stories here, and the interactions between them merit exploration too. I know the prosthetics may be distracting, but they serve to identify the souls by a similarity of appearance. Alternative devices may have been more subtle, but I suspect would have made the identification nigh impossible for people.
I have a soft spot for the words of Sonmi – very simple but elegant language, food for the soul. To those who described the meaning as some wishy washy tale of cosmic interconnectedness, I’d say that a shallow man sees his own reflection in the deepest of ponds.
‘Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.’ – Sonmi-451
I started to see the matrix today. More specifically, the semiotic web as described in Patrick Dunn’s text on Postmodern Magic. The semiotic web/matrix is the totality of interrelated symbols and meaning that chart our experiences.
The term matrix or lattice has connotations of being crystalline and rigid – an oppressive sentiment that may be apt for the film the Matrix – which is why the web description is more appealing to me. It occurred to me however that the description of the semiotic web is still lacking something, or at least, it was for me.
The symbols are ALIVE. Do not view the semiotic web as a collection of things/points/nodes. The Net of Indra is a beautiful metaphor worth thinking about, and although the gems are like things, their identity is partly eroded and partly composed by the fact they reflect all the others. i.e. the identity of a thing is contextual (its place in the semiotic web). A change in one affects the others. But even more than this, the symbols are the landscape of our desires, ideals and motivations – which makes them decidedly ACTIVE. Imagine the landscape topology, with rivers flowing between peaks. Then consider the topology of the semiotic web:
In a crude sense, the symbol of a wall or obstacle serves to channel most ambulatory beings towards symbols of access and passage. Otherwise we would walk into walls more often! The very nature of the semiotic web serves to channel energy and direct us. More significant symbols, like ideals (and arguably gods) similarly distort the web, so that energies flow in different directions. As a ball rolls downhill into a depression, as the gravity well draws in objects, so too does the semiotic web guide and influence.
This is why I love Aikido so much: It works within the semiotic web so well. Rather than cruder approaches which might strike blows to deal with threats, Aikido literally takes advantage of the individual’s situation and interrelations within the web. Aikido is a form of magic made manifest – and as you get better at it you start to see the channels of people’s intentions. A bit like the scene in Donnie Darko when he starts to see the space-time worms emerging from the solar plexus, you start to see these energy flow more clearly, and how to direct them in different ways. I think a true master never has to fight, simply by virtue of avoiding conflicts before they even erupt.
Finally, I managed to see this yesterday, after a lot of interesting comments and reviews from others. There are going to be SPOILERS so be warned. First off: I really enjoyed it. It’s always a pleasure watching Sigourney Weaver beating the cr*p out of somebody. It was a good mix of horror with a twist, and there were some fun concepts based around the idea of a corporate sacrifice factory designed to prevent/delay the end of the world.
Joss Whedon’s touch was evident in the camp larger than life gratuitousness of some of the characters and scenes. A squad of troops being slaughtered in a nightmarish lift-foyer massacre. An office party with a silent and ignored backdrop of a brutal undead assault. Person catching a friend’s severed head.
The points I found thought-provoking were these:
1. Given the need to appease the BBG (Big Bad God) with the sacrifices, where is the moral compass on this one? I’ll refer to the sacrifices as the ‘victims’
2. How realistic was the portrayal of the corporation employees?
Gods can be cruel. For those of you who don’t know the tale of Cassandra, see here. In short, the sun god Apollo gifted Cassandra with the ability to see the future, but when this act of generosity failed to open her legs, he spitefully twisted the gift into a curse. Cassandra was left with the knowledge of future events, but could neither alter these events nor convince others of the validity of her predictions.
Hot sun kisses
A daffodil waves
Recollections steal me
Rock hard shower
Yet another tune
Each breath sings
Aromatic skin dances
Resting in light
Lying next to
Ecstasies of friction
Merry washing bubbles
Unkempt bed hair
Delicious indiscretions blossom
I’m glowing brightly
Lovely cookie monster
Around Halloween, when the shops fill up with plastic fangs and pumpkins, I am led to wonder what the point of it all is nowadays. What is the role of horror in modern life? One aspect of it is, for me, being reminded that no matter how much we feel safe and in control with all our gadgetry and sophistication, the dark is just outside. I find powerful horror stories to be the ones which remind me of just how fragile this sense of control is, by offering up scenarios that believably transform mundane life into a nightmare.
Here is one such scenario that came to me through real life inspiration, with a small added embellishment for effect!