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Chaos magic teaches that the essence of magic is that perceptions are conditioned by beliefs, and that the world as we perceive it can be changed by deliberately changing those beliefs.[10] Chaos magicians subsequently treat belief as a tool, often creating their own idiosyncratic magical systems and frequently borrowing from other magical traditions, religious movements, popular culture and various strands of philosophy.[11]
ABRIEFHISTORYOFCHAOSThe Chaos Magic movement had its firststirrings in the latenineteen seventies, in England. While the newphenomena ofpunk rock was grabbing the newspaper headlines, andscientistsacross the world were beginning to delve into themysteriousmathematical world of fractals and non-linear dynamics, anewapproach to magical practice was being synthesized in thewildsof West Yorkshire. At the time, English occultism was verymuchdominated by the three strands of popular Witchcraft,WesternQabalah, and Thelema. At least, there were enoughpeople interestedin these approaches to spawn supportingmagazines. In one suchmagazine, The New Equinox, thereappeared the early writings ofPeterJ.Carroll, whoisconsideredthe foremost exponent of modernChaos Magic. By 1978, thereappeared the first advertisements forthe \"Illuminates ofThanateros\", an order who's practices werecomposed of ablendof shamanism, Taoism, Tantra and Thelema. Theannouncementof this new order was shortly followed by the firstedition ofPeter Carroll's Liber Null, which while describing thebasicphilosophy and practical approaches, did not contain theterm'Chaos Magic'. LiberNull was closely followed by The BookofResults by Ray Sherwin, which lucidly explained AustinOsmanSpare's great magical innovationsigil magic. Austin OsmanSpareis considered by many to be the \"grandfather\" of ChaosMagic. Anobscure figure, brought to light by the work ofKenneth Grant, Sparewas a superb magical artist, sorcerer, and
spiritualist. At a time when many of his contemporariessneeredat table-tapping and contacting 'spirit guides' in favourofelaborate Rosicrucian ceremonies, Spare was painting thespiritshe was in contact with, and using his own system of'sentientletters'sigilsto manifest his desires. Spare was notpartic-ularly enamoured of the Golden Dawn-style approach tomagic,and makes some very acid comments on the subject in TheBookof Pleasure (1913).The Bookof Pleasure (subtitled: ThePsychologyof Ecstasy)contains the essentials of Spare's magicalphilosophy, and thekey techniques with whichheapplied it. It isnotan easy book toread, and Spare is often referred to as an\"incomprehensiblemystic.\" His vocabulary is wide, his use ofgrammar is strange,and he uses many terms in ways that give them adifferentmeaningfromtheirusualcontext. Norwas heattemptingtowriteina \"textbook\" style that modern readers are used to, and TheBook ofPleasure is very stylistically reminiscent of an oldGrimoire beforeit has been tidied up. Fortunately, The Book ofResults gave a veryclear exposition of sigil magic, andLiberNull also dealt withSpare's concept of the alphabet of desire.Another powerfulinfluence of the development of Chaos Magicwas the work of AleisterCrowley. Crowley synthesised amagical world-viewa psychocosmout ofhis studies inmagical and esoteric fields such as the Golden Dawn,Yoga,Alchemy, Kabalah, andfromhis experience in otherdisciplines.Moreover, it is Crowley's life, rather than hisvoluminousmagical and mystical writings that is of interest.Crowley tookhis personal experience, magical and otherwise, andcreated hisown enclave, beyond the boundaries of conventionalmorality.He deliberately sought extremes of experience, concealing,andat the same time, revealing himself through a series ofcolourfulpersonalities. Part of Crowley's attraction for themodernmagician is that he created something which hasenduringpowera psychocosm which continues to be developedandtwisted intodifferent forms. Crowley did not somuch 'followatradition, he embodied a dynamic process ofrealityengagementcreating his own pathfromwhatever hehappenedtofindinfront of him.The early growth of Chaos Magic was characterised byaloose network of informal groups who came together to
What isnotable concerning thegrowth of Chaos Magic isthatfromits beginnings, it has been very much perceived as\"experimental\"magic. This means not only experimenting withmagical techniques andpractices, but also questioning andtesting a great many of theconcepts which many people whobecome involve in the occult acceptas implicitly 'true'. The latenineteen-eighties gaverise tothesecond great surge of interest inChaos Magic, with the rise ofspecialist occult magazines such asChaos International in whichpractising Chaos Magicians madetheir technical and philosophicalfindings known to their peers.This period was one of agreat surgeof interest in occultism,with the availability of affordableDesktop Publishing systemsleading to a surge of self-publishing andspecial-interest occultmagazines being a contributing factor. Thediversification ofesoteric studies into separate (and almostmutually exclusive)fields continued, and the late eighties alsogave rise to themushrooming of interest in shamanism of one type oranother.An important (but often overlooked) element of growingoccultmovements is the availability of information in thepublicdomain. If you go into any bookstore cateringtooccultinterests,there islikelytobeawide range of titlescateringtovirtually anysubject, from Astrology to Zen. Chaos Magichas not, so far,reached such a high level of visibility. Instead,the ideas havespread by word of mouth, through theinformation-highways ofInternet and Compuserve, through limitededition books andspecialist magazines. In a subculture wherecommercial trendstend to create the illusion of 'separate' occulttraditions andapproaches, Chaos Magic texts represent the movetowards
future. Although it is ever the folly of the young to sneer atthemistakes of theirforebears, let us not forget that, in essence,theirmagics worked; thatwearehere. Evennow I feel thestirringsofthe next generation of magi, and it is my fervent hope thattheytoo will surpass the present generation; that they will notbeseducedby thepast, but will take magicforwards.Just as thetranscendental emphasis of the 19th century magireflected thedriving passions of their age, so too does contem-porary magicshowup thedominant characteristics of this latterend of the 20thCentury: a faith in Technology and a magpie'sview of culture. Inany of our Western cities, we can dailyexperience the culturalmelting pot of stylesfromanywhere intheworld,fromanyplaceor time.So too, wesee thetendency toreduce magic toaprofusion oftechniques, asthe would-be magiincreasingly search for 'better'techniques; quicker results;instant enlightenments. The presenttechnologists of the spirit runthe same risks as the previousgenerations' architects of theabstract; of narrowing theirvision;ofimbalance.Magic is powerful; it is dangerous, as is anythingwhichprovokeschange.One may be driven towards magic, be seducedbyits glamours, or washed up against its shores through crisis,but itis most definitely not for all. No more than onewouldindiscriminately feed people powerful psychoactive drugs,orleave children to play with dangerous machinery. This istheseduction of technology, that its creators distancethemselvesfromthe uses to which their creations are put, and itsglamoursare seductive in the short-term, whereas the consequencesaresomewhat different. In the Sixties, we werefed the glamourofUtopia through the harnessing of Nuclear Power. Thirtyyearslater, the glamour has soured somewhat. It is the samewithmagic. \"What -weimagine magic will enable us to become, andwhatwe actually becomeafter years of practice, are usuallyquitedifferent.The ability to perform advanced acts of magicrequires yearsof effort; years of study, training, practice,analysis, and growingself-awareness, these years are valuable; thepassage of timeallows us togrow, to create our owncodesof ethicsand honours,formng the roots of our power, and the bedrock uponwhich we\"build our magical reality. As is often said, a powerfulmagicianstands alone in the crowd, to some degree alien orinhuman.
looking 'behind the facade' of paramount reality fortheunderlying complexities and patterns. Chaos places anemphasisupon attention todetail, tobeing wary of the tendency tobecomeuncritical of that which seems, on thesurface, to beself-evident.On the more practical level of sorceryhe use ofenchantmentsto actualise desire, it is all to easy to view asituation in terms ofour own viewpoint being the most important, orthat ourperspective of an event is the only one that counts. TheEgoMagic techniques of Chaos Magic allow youto shiftperspectivesand look at a situation from another person'sviewpoint. Therelativistic perspective of Chaos Magic emphasizesthatsituations and events are rarely as clear-cut as we wouldlikethem to be. There is also the question of how the 'Selfisregarded.Although science has more or less driven out thereligiousconcept of animmortal soul, it still tends to make adistinctionbetween innerandouter experiencebyupholding theMind-BodydivideThe Ghost in the Machine. Magical theories which,likescientific theories, were codified and generalised intheNineteenth century, tend to reinforce this division tovariousdegrees. In contrast, Chaos supports the view that theMindarises from the body. On the surface, this appears to beareductionist argument, which is a criticism which has beenleveledat Chaos Magic on more than one occasion. However,there is more tothe concept than divesting ourselves ofessentialist qualities.Manymagiciansusethe term BodyMind tosignify that Mind and Body shouldbe considered a unifiedwhole. If this can be accepted, then thewhole subjective-objective distinction is called into question.Moreover, thisviewpoint is supported by Chaos Science, which hasnot onlyhighlighted the fact that the 'objective' world, which wasoncethought to bemeasurable, quantifiable andexplainablefollowingmathematical rules, has a high level of 'fuzziness' andindeter-minacy; but also that the 'subjective world' of themind canbeexamined using analytical tools. Not only is there no 'Ghost'inthe machine, but the idea of aphysiological 'machine'movingthrough a passive environment has been shown up to berathersimplistic. Chaos philosophy is developing the ideaofinterdependent systemsecologieswhich have the inherentcapacityforself-organisation. Asapurely practical example, go 153554b96e
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