Improvisational Sorcery

The practice of an improvisational sorcery was forced upon us in part by our inclinations and our moment in history and location in space. When a sorcerer is born into a place and time in which no compatible tradition of sorcery exists, necessity begets creativity. The syncreticism that underlies aspects of contemporary sorcery are abetted by the excess of available historical and contemporary materials. An improvisational style emerged as a result of these to factors (absence of a living tradition, availability of materials). In particular, the varying quality of materials necessiated experimentation and the development of methods of discernment to separate the valuable from the less valuable. Directed by its own logic and synchronicities, the process often resulted in gaps between congenial material, requiring either invention and/or experimentation to investigate and create links. By combining pre-existing materials with an ongoing need to invent relations between materials, improvisation became foundational to our practice of the Art.

Improvisation is not pure invention. In improvisation, invention is always coupled with some pre-existing material that provides the basis for the invention. It is certainly the case that improvisation includes significant invention, the le. may start there, but does not stay there. Rather, improvisation combines pure (and impure, one supposes) invention with the use of pre-existing materials. Hence, pre-existing materials come to be altered in the act of improvising upon them and as the results of improvisation become stabilized they are transformed into materials upon which will function as "pre-existing" in the next round of improvisation. In sorcery, this means allowing pre-existing materials to be engaged in a dynamic rather than static manner.

That the specific mode we had adapted was "improvisational" was impressed upon us by a study of mode of production of American Jazz. In jazz, musicians work with some preset elements (rhythm, melodic and harmonic patterns) but are not entirely constrained by the elements. That improvisation modes of production can generate durable results is more than vindicated by the history of jazz music.

An equally apt analogy is to improvisational character in the preparation of food. A cook may begin with a specific recipe but may also be required to adapt aspects of the recipe to suit unique current conditions including personal taste and available materials. Should the result be deemed worthy, the cook may record the altered recipe to which they may return at another date. This revised, recorded recipe may, at some point, itself undergo alteration. This process might then be repeated many times, ending only when the cook concludes that there is no more reason to pursue the production of that particular foodstuff. The cessation of experimentation and innovation may be due to many factors, but, in all cases the task ends only when the cook no longer feels an impetus to create and experiment with the food associated with the recipe. In the same way that cooks pass down techniques, heuristics and recipes from one to another, so to do sorcerers, bequeathing techniques, grimoires, perceptions, etc from one to another.

The process of the creation of a tradition is the process of experimentation and improvisation. Upon achieving a certain level of satisfactory reliability these experiments and improvisation become codified, gradually becoming"tradition". Improvisation restores the dynamism to tradition, allowing what is valuable in a tradition to be sustained while giving what remains a currency it might not otherwise have. Thus creating the conditions for the creation of a "new" tradition.

The "Eggs" of the Global Consciousness Project

We admire the "Global Consciousness Project" for even trying, but they should have kept their work to themselves and kept the Press at bay. The idea of a "network" of random-number-generating "eggs" that appear to respond to not-yet-occurring events has drawn alot of recent attention. The hoopla, however, seems unwarranted. Even if the GCP system *does* indicate future events, it *doesn't* indicate when or where or the kind of event that is to occur. Basically, we have no more knowledge with the device than we do without. Also, given that their experiment suggest that individuals can affect individual devices, the device is extraordinarily sensitive. Also, since the cause of the perceived effect is unknown, there is currently no way to limit the influences on the device/network. If a single human can affect it, why not some other intelligence? An ant-collective dying a horrible death in a flood has just as much a chance of affecting the device as a "major" catastrophe for humans. It's only observer bias that seems to drive the assumption that the GCP network is detecting human catastrophes rather than others. Given all these limitations and variable, there's not much to recommend the GCP network as a tool for intervention or exploration. Basically, it seems that people are fascinated by gadgets and like to believe that the aura of "science" can lend respectability to "paranormal" phenomena. It can't.

The New Swastika

There is a new occult symbol emerging. It appears to be playing the role once held by the "swastika" symbol of the Third Reich. This new occult symbol is appearing all over the US, spontaneously embraced by all kinds of persons whose inclination is to identify with the justification of the temporal power and violence of the Archons.

This symbol can be described as half of an "infinity", the "otala" rune, the "fish" (ichthys) symbol and the Greek letter alpha, an abstraction of a human female vaginal opening and a "folded ribbon". Unlike the swastika, which had no special orientation, the otala/ickthys/alpha symbol does. But, due to the multiple associations, it can not be placed into a position which is solely benign. This makes it perfect vehicle for demonic/archonic energies.

As in the time of the emergence of the Third Reich, the sudden public display of a previously "occult" symbol in many places at once suggests an upsurge of demonic/archonic activity. The lure of Dominion in individual and collective life is a trait of the Demonic/Archonic power and this symbol has now, quite suddenly, become associated with the normalization of violence and the justification of dominion of death over life.

Those not wishing to act as enablers of the poisoning of the spiritual environment --or preparing the way for demonic/archonic powers -- should, as much as possible, remove these symbols from their personal environments.

Fragments of Deep History - Carlo Ginzburg

There are a number of historical/cultural works which the careful reader will find useful to gleaning useful knowledge relevant to the Practice of the Art. Among them are The Night Battles and Ecstasies by Carlo Ginzburg. The earlier of the two works, The Night Battles, traces the evolution of a "pagan" (non-Abrahamic cult) belief into a belief that conforms to those of the prevailing Abrahamic cult (christian). Ginzburg uses material from a collection of "interviews" with "peasants" given in the context of investigations by the Inquisition of the Church of Rome. The "peasants" have been referred to the Inquisition for the uttering of non-conforming beliefs which the Inquisitors attempt to make conform to the Inquisitor's notions of "the Witch's Sabbath". Initially, the "peasants" testify that some individuals born with "a caul" (an amniotic mesh) -- -- called benandante -- will undergo a "transformation" and travel "in spirit" to do battle with "witches" for the safety and abundance of the harvest. Over time, however, the "interviews" yield material that conforms to that of the Inquisitors. Gradually, "the night battles" become "the Witch's Sabbath". Ginzburg's interest is in this tranformation of beliefs, however, in the process of doing so, Ginzburg also investigates the spatial and temporal distribution of "the night battles", and others allied with it ("the wild hunt"). This search forms a major focus of Ecstasies, a work quite astonishing in the breadth and width of it's evidence and speculation. Ecstasies attempts to chart the origins of the "shamanic" practice which appears to form a continuous, widely-distributed collection of beliefs and practices from "prehistory" until very recently (1800's). For those individuals whose Practice is "shamanic" in character, The Night Battles and Ecstasies can broaden and deepen their understanding of their Tradition.

Esoterica Webzine

http://www.esoteric.msu.edu/ is the online home of Esoterica magazine. We have found the research published here quite valuable for their historical accuracy, theoretical rigor and depth of knowledge regarding matters esoteric and mystical. Published annually, Esoterica is an valuable resoruce for the Practitioner who seeks to broaden their intellectual horizons.

Volume IV contains a fascinating article by Tom Cheetham entitled Within This Darkness: Incarnation, Theophany and the Primordial Revelation. Cheetham's examination of the problem of "the incarnation" in orthodox and heterodox abrahamicism is full of valuable insights regarding the hazards of mystical exploration.

Arthur Versluis, author of The Philosophy of Magic, published a two-part (Volume IV and V) investigation into what constitutes "western esotericism". If you have not yet encountered Professor Versluis' work, this essay displays his historical knowledge, philosophical sophistication and genuine sympathy for the Art.

Esotericism is an area of human endevour that has often attracted individuals whose egos are only exceed by their capacity for self-aggrandizement. Scholars and thinkers of the caliber of Versluis and Cheetham are effective reminders that such charactistics are not a necessity to the investigation and research of esoteric matters.

Contemporary Sorcery

This blog will concentrate on sorcery with frequent digressions into allied matters such as mysticism, philosophy and alchemy as well as the occasional foray into current affairs from a sorcerous perspective. It will reflect the opinions of the author(s). We hope to stimulate constructive thought and action within the community of sorcerers and interested parties.

If you think sorcery is "nonsense" or "evil", please take your comments and advice elsewhere. Should others take an interest in this work and choose to leave comments, be advised that the author declines to participate in the online equivalent of a debate society. Questions reflecting genuine interest are, however, welcome. There is nothing wrong with being uncertain and expressing your uncertainty as best you can.

What is Sorcery?
Sorcery is the aggregate of practices that operationalize a given metaphysical system. Sorcery differs from religion and mysticism in its emphasis upon doing, participation, performance.

Why "Contemporary Sorcery"?
To indicate a focus on current experience, research and experimentation.

Why exist at all?
The history of commentary on sorcery has emphasized the "practical", with little or no serious thought given to "theory". Contemporary Sorcery aims to chart the opposite course, giving consideration to both theory and practice, but emphasizing theoretical issues that impign upon the practice of sorcery.