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~ Enoralia ~

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The Garden Of Chaos: Sigil Making for Dummies

chaosgarden:

theepsionicassembly:

A couple interesting sites for the non-artistically-inclined magi::

http://sigilmaker.com/

http://www.waningmoon.com/cgi-local/tools/sigilcrush.cgi

http://17hex.net/sigil/

I’ve been aware of the Sigil Crush app for a while but never the other two. I’ll…

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The Power Of The Witch - British Witchcraft documentary, 1971

An extremely rare documentary about Witchcraft aired once in the UK in 1971. Featuring contributions from Eleanor Bone, Cecil Williamson, Alex & Maxine Sanders, Doreen Valiente et al. Very much of its time and with some very rare footage, also includes reference to the famously unsolved murder of Charles Walton on Meon Hill.

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‘Sigil’ as a word is out of date. All this magic stuff needs new terminology because it’s not what people are being told it is at all. It’s not all this wearying symbolic misdirection that’s being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world’s at a crisis point and it’s time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are ‘special’ people with special powers. It’s not like that. Everyone does magic all the time in different ways. ‘Life’ plus ‘significance’ = magic. (2004) 
Grant Morrison (via thenewabnormal)

(via chaosgarden)

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Was Aleister Crowley behind the London deaths attributed to “The Curse of Tutankhamen”?

iheartchaos:

Throughout the 1920s and 30s, London saw 20 deaths that were simply written off as due to the mythical “Curse of Tutankhamen”, since all 20 had some sort of connection to the opening of the burial chamber of the boy king in Luxor in 1922. But now, one scholar believes the deaths were attributable to occultist Aleister Crowley.

Read More

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iseesigils:

tarotwoman:

5. Heterodyne Acustator - Perceptic Inevitabilitron from Dakota Tageson-Crane

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iseesigils:

tarotwoman:

5. Heterodyne Acustator - Perceptic Inevitabilitron from Dakota Tageson-Crane

:)

(via chaosgarden)

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The Limits of Magick are only ever proportionate to the size of our minds.

chaosgarden:

Too fucking true.

(Source: blackshaw)

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Alan Moore talks about information (by Miles Hingston)

Alan Moore presents the story of his development as an artist, starting with his childhood and working through to his comics career and impact on that medium, and his emerging interest in magic.

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The Theatre of Magic

  1. Tout ce qui n’est pas égocentrique est mort.
  2. Tout ce qui peut être perçu est réel.
  3. Tout ce qui ne peut pas être perçu n’est pas nécessairement irréel.
  4. Essayez tout au moins deux fois. Cette instruction est incompatible avec des activités comme le suicide que l’on ne peut commettre qu’une seule fois. Les tentatives de suicide sont, naturellement, permises.
  5. Ignorez tous les signes de gauche et de droite. Ils ne servent qu’à distiller de la confusion, la droite de la scène étant la gauche de l’auditoire et vice-versa.
  6. Baisez avec autant de fantômes que possible.
  7. Ne montrez jamais vos talismans.
  8. La Volonté est unité de désir.
  9. Lorsque vous visitez le convent local, assurez-vous d’avoir un euro sur vous pour la bière.
  10. La Magie est un viol de la probabilité.

Ray Sherwin, The Theatre of Magic, 1981. Traduction française par Spartakus FreeMann, 2011.

via melmothia.net

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Probability Magic(k), Possible Magic(k), and the Big Magics

Probability magic is a new magical model that looks at the universe as a set of probabilities, and as magic being the ability to increase and decrease these probabilities. This is different from traditional magical theory.

Traditional magical theory worked under a cause and effect theory, or action and reaction. In other words the basic idea of magic was that if you do A then B will occur, and so the point of magic was to assign something to the variable B and then figure out what A is. The problem with this model is that there are a lot of variables that effect the operation. Things like the mood of the practitioner, who is in the room, where the operation is being performed, the time of day, the position of the stars, and the physical condition of the practitioner can all have huge effects on whether or not a spell succeeds. So just because A worked once doesn’t mean it will always work, and just because A didn’t work this time doesn’t mean it will never work. Some magicians who are able to succeed at a spell very rarely succeed at it while others are able to get the same spell to work almost all of the time and rarely ever fail.

Probability magic tries to fix this model. Probability magic begins by supposing that all things are possible however unlikely (this is supported by mathmatics and physics). Next it figures that magic is simply the act of changing these probabilities, and this, not variables which are unaccounted for, is why some magicians can only get a spell to work some of the time. Under the theory of probability magic the spell works every time, but it never brings forth the goal. The spell just makes the goal more likely to happen.

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La Magie du Chaos en deux coups de cuillère

« Je dois créer mon propre système ou accepter d’être réduit en esclavage par un autre homme », a dit William Blake. « La magie, pour moi, est une méthode de travail permettant d’explorer d’autres réalités, de briser les habitudes comportementales, de parvenir à s’entendre avec la mort et de se payer une tranche de rire », a dit Grant Morrison. Ce sont les principes de base de la Magie du Chaos : la croyance est un outil, non une camisole de force. Elle est malléable. Elle peut et doit être modifiée à Volonté [sic] pour occasionner des changements en soi-même et dans le monde. Tout le reste – la cosmologie, la technique, la philosophie – est négociable.

via

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Ni Dieu ni mètre

Extrait :

En magie, la foi précède la manifestation.

Et ce n’est qu’un point parmi d’autres qui rendent l’évaluation de la Magie par la science ou par la religion contre-nature. Nous voilà donc devant un divorce méthodologique du même acabit que celui qui a divisé science et religion : le caractère radicalement différent des logiques inhérentes à ces grandes approches que sont la science, l’art, la religion et la magie rend l’évaluation de l’une par l’autre aberrante. Ou comme le dit Ramsey Dukes : la religion n’a rien à dire de la science ni de la magie ; la science n’a rien à dire de la religion ni de la magie, etc.

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Alan Moore on Austin Osman Spare

Author and magician Alan Moore discusses the virtually unknown but enormously talented Edwardian artist and magician Austin Osman Spare on The Culture Show from the BBC.

(via Zefrem23)

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