By Eugenia Macer-Story

[All sing.] The light is in my body: let the magick come down.] The light is in my body: let the magick come down.
Hey, hey: let the magick come down
You touch me and I travel: let the magick come down.
You touch me and I travel: let the magick come down.
Hey, hey: let the magick come down.
I am going to take a journey: let the magick come down.
I am going to take a journey: let the magick come down.
Hey, hey: let the magick come down.
[Dance interlude.] …

A) matrix terminology [MagSorAlch]

Where does one begin in discussing verbally such topics as magick, sorcery and
alchemy? These are activities which actually are procedures and processes, not
philosophical concepts . However, philosophical concepts may be attached to these
activities and events by discussion or analysis.
In order to approach discussion and/or instruction in [MagSorAlch] one must accept the
world view which includes an additional structural component/force to the strictly
electromagnetic/quantum model taught in academic science and engineering classes.
The “light” in the chant above signifies the “energy of life” the component in addition to
electromagnetic mass which self-organizes the living structure.
The “fluidice matrix” model which has been developed in a series of refereed scientific
papers presents in a simple way these concepts of an additional mass component:

In the words of this simple song, you need a wind (some structural context and support)
to fly your kite (mass structure) as well as a string (time synchronization) to attach the
mass to the aetheric structure.

“If you want to fly your kite
Then you better have a string
If you ‘re going to have a string
Then you better have as kite
But you better have a wind if you want to fly it right. “

This model is also comprehensible as a “technical” explanation of the concept of
synchronicity first discussed by psychologist Dr. Carl Jung. The original papers are
available by browsing the internet or accessing one of the Magick Mirror websites given
at the end of this article. One does not “work magick” only with the individual mind but
also with the permission and co-operation of the cosmic logos, the shared organizational
mind of the cosmos. I use the term “cosmic” rather than “universe” or “universal” since I
am not sure how many universes exist as part of the entire arrangement.
But this particular article is about the use of these concepts and so different symbolic
process models will be utilized. Notice that already Magick, Sorcery and Alchemy have
become [MagSorAlch]. This is a notation similar to physics and cyber-coding notations
used when a process elaborately described in a detailed paper or lecture is summarized in
coded notation for operators who have previous familiarity with the detailed
process/concept.
It is amusing that the practice of [MagSorAlch] is often misconstrued as “sex magick”
by those who have been seduced or wish to be seduced by the [MagSorAlch] practitioner
whose light they feel in their mind/body system.
B) True meaning of perception of “magick” as “sex”
When we say a car is “sexy” , we mean it fascinates us and causes a physical/mental
entanglement which causes a desire to invest energy in the “sexy car”. Thus a misinvested
use of such energy entanglement can occur when two people are sold the same
car by some act of glamorous magick coupled with the “sleight of mind” employed by
chaos magicians and also quite naturally by adepts who have never accessed the “chaos
magick” method of coding perceptions.
Certainly, the physical copulation represented in anatomy books and hard core
pornography is not necessarily “sexy” but can the downright depressing in the same way
that an un-cooked roast pig is moot to the observer. It is necessary to include the concept
of “ sex magick” as part of a much larger picture of a cosmic world body structured by
the logos of “light” in order to represent the mundane practice of sexual [MagSorAlch] properly. This structured energy of birth and transformation was represented as “fire” in a
variety of ancient ceremonies including the “fire puja” of Tibetan Buddhism and the
Celtic fire festival of Samhain.

C) Magick as activation of the virtual “mirror image”
Actually, “magick” as the activation of the will of the individual in the interdimensional
(including material ) environment involves the creation of a world which reflects the
inner mental process of the magician.

 

So that, as in the diagram above taken from the original paper “The Supernatural Subtle
Energies And The Magick Mirror” (New Science Forum-Fort Collins, Colorado-1991)
the “virtual image”(right) is projected out from behind the mirror (as in lens optics) and
becomes the “only world” of the individuals (left) using the “enchanted lens” as their
world and individual mirror.

This process has innate limitations when the “reverse mirror” is the Internet, TV or any
individual instruction book because people can choose to go offline, turn off the set,
move to another Internet list or throw the book in the river rather than tune in
telepathically to the “only world” of the magician or hypnotist..
D) Politics and use of [MagSorAlch]
In a Fascist political regime, however, the would-be magus may make an attempt to get
the political leaders into “reflective focus” and thus control events by controlling the
mindstate and beliefs of the populace via media and the press.
The resemblance of individuals who attempt a similar goal by “alchemical” means,
transforming themselves in order to concomitantly transform humanity into a similar
image, is evident, and many small “fascist worlds” are likely to exist within circles of
acquaintance devoted to occult philosophy and/or transpersonal exploration.
Another “political” use of concepts of [MagSorAlch] is the “chaos magick” practice
which has actually been used in certain poi “research” contexts requiring an atheist or
non-religious attitude on the part of the designers. In this practice, psychological “screen
identities” derived from a study of Jungian psychology are used as both inner and outer
“shamanic masks” to trick the minds of the participants into obeying the will of the
operator embedded within the “screen mask” of a self-created angel or demon. In order to
practice this system, one must have a belief similar to the power-oriented school of
alchemical sorcerers that a certain “intellectual elite” knows best how to use humanist
psychological techniques in order to manipulate others. It is not surprising, therefore, to
discover practitioners of the humanist school of sorcery operating in advertising and
stock broker context. Yet some feel that the energy of the practitioner nevertheless
animates a mask which is inevitably presented from the collective human unconscious
and not simply from the individual subconscious.
Section 6 of “The Grid”-poem in process

“ into the grid come the icons, suspended at intervals
one, seeming to be a woman with sky-blue angled veils,
then becomes a metallic mask, flowing toward “recognition”
eyebones slanted out upward within the veils
impossible to tell whether she is the Virgin Mary or Salome’
only that she calls me to the worship of powers I do not understand
slipping back into the Grid
when there is no singing of unknown, sacred names…”

E) Weather conditions and non-human intelligence
There is, however, a significantly different way of looking at [MagSorAlch] . Within the
lens of this other view scope, distinctively part of shamanic practice in any tradition, the
magician functions as an explorer of unknown jungle or desert territory , or as a navigator
of a boat in the currents of a river,. S/he must know the weather and surroundings in
order to act appropriately and effectively. In this belief system, one sets an individual
“subtle lever” into the larger cosmic mechanism, as with the rudder which guides the boat
or the individually-lettered sign which warns “detour”, rather than by force attempting to
induce the compliance of the populace. Thus the aware magician transforms the self by
acting to change the self’s place in the cosmos. Both these “natural” magicians and the
more directly “power-oriented” magicians are likely to make some actual link with spirit
entities, non-human intelligences, in order to accomplish their feats of transformation.
In fact, in European definitions of [MagSorAlch] , “commerce with spirits” is often
mentioned. Sometimes, however, spirit entities or similar non-human personae appear to
enter human activities arbitrarily with some mysterious agenda not connected to the
individual magician and/or the attached circle of acquaintance . These appearances of the
“deus ex machina” may perhaps be connected to the perceived destiny of a particular
national, religious or racial grouping on the material plane .But such interruptions into the
expected flow of events may also be linked to the DNA evolution of humans and/or the
evolution of some other material life form which serves as a platform for action by the
interlinked intelligences of the cosmos.
F) Ceremonial magick and strategy games
The actual interruption of inexplicable yet intelligently significant “accidental” events
into human destiny was represented in ancient Greek drama by an actor being suddenly
lowered from overhead by ropes and pulleys into the tangled human dilemmas then
happening on the stage. This “god/dess from the machine” is a poetical representation of
what might actually be observed to happen in inexplicable rescues and catastrophes not
engineered by the weather, but happening arbitrarily, for no discernable cause. Of course,
the cause may lie in a pattern of desired events, an agenda of the Fates discernable by
intelligences who are aware of the structure of events from a perspective outside linear
time.
When I was drafting this article in longhand, I had left the notebook open and gone about
other real time activities. Suddenly I felt like jotting down the following bit of dialog and
put it on the page below the draft so that I would not forget the words, intending to
transfer it to my journal and/or into a poem. Then when I continued drafting the paper I
put it into brackets rather than crossing it out.

[It wants you to sleep, very much like a serpent hypnotizing its prey. For if you sleep, you
will energize its world.”]

For the strategy games played by adults, exactly like the war & romance games played by
children, may be joined by an “imaginary companion” who appears suddenly among
them, seeming to both direct and articulate the shared mindstate or “global identity” of
the group. Is this companion, as questioned in he famous short story by Henry James
entitled “The Turn of the Screw” , always wholly “imaginary” or is the identity a “screen
mask” animated by an actual spirit or non-human intelligence?
Tales of such magickal activity as “literature” often fall short of the strange, numinous
reality which often accompanies these children’s games and/or the adult shared fantasies
of strategy games, pornography and other pursuits with imaginary, distant or “invisible”
characters interacting with the human participants.
As experienced, the “alternate worlds” created by lending energy to these mentally-active
companions may be quite palpable and for all transactional purposes “real” beyond the
“rose colored glasses” of the virtual lens analogy, or the “slight of mind” practices of
humanists attempting to trick their own psychology into extraordinary feats of
enchantment. The “quantum theory” of alternate destinies and worlds created simply by
observation may fall into this “sleight of mind” category.

“Now you see it : now you don’t If you don’t see ME, I’ve never been born?”

Such a “disappearing act” might take place in the small world of the magician’s mind as
projected into the minds of close associates, perhaps. [See the previous sections C & D.] Yes: it’s supposed to be only a technical analogy, a way of explaining small particle
behavior. But in the limited “physics” community, where perceived reality is largely
mental , it is reasoned that such programming by the human will when applied to very
subtle and sensitive small particle behavior may actually lever patterns of destiny and
mass somewhat in the same way that atomic behavior of uranium or plutonium can cause
a massive explosion in the larger fabric of the cosmos.
When individuals “sleep into trance” as a group and lend ideas living substance, an actual
entity may be created and even an “alternate world” may come to exist in fact. Thus
certain “deities” may want a group of “true believers” to lend them substance, so that
they can actually materialize. The trappings and ethos of “ceremonial magick ”in all
traditions induce these materializations both within the body of the priest/enchantress and
within the material circumstances these people may come to create and/or encounter,
now, past and future.
G) Language as a coded lexicon rather than alphabetic words
Decoding events involved with [MagSorAlch] practice involves an acceptance of the
assembled nexus as an item beyond the sum of linear, rational parts. It is an assemblage
of processes like the mathematical “matrix” which both describes and predicts stress
happening from all directions in an electronic or mechanical device/engine.
One experiences the entire, assembled nexus as a whole unit but no one part of the nexus
defines the whole. Thus the rebus language of [MagSorAlch] is not exactly like the 3-d
visual/ photonic hologram so often used as a metaphor for “global perception”. The
hologram requires a re-animation by the exact frequencies of coherent light which
recorded the original pattern on a stereographic slide. Thus the entire cosmos, if actually
a hologram in essence, would be static, frozen and predictable by some type of universal,
coherent (limited) energy frequency.
On the truly multi-dimensional cosmic grid, one place in time is different from another
place in time because a structural (5th dimensional) reference frame maintains the
shifting time-space landscapes as relative four dimensional space-time “E/M boxes”
attached as unique threads or beads within a non-spatial patterning frame .

 

H) Loom of the weavers of destiny
This is the “loom” of the weavers of destiny as represented in a number of traditional
mythologies .which attempt to explain the mysteries of fate which form the histories of
nations and individuals. [MagSorAlch] considered in such a context is not trivial. For a
traveling carnival may be more permanent than an exploding building just as the moving
spindle which creates the individual pattern leaves a more permanent trace than the edges
of the frame which temporarily hold the developing fabric. This is the principle of the
traditional Chinese practice of Feng Shui, [MagSorAlch] a practice wherein the
positioning and re-positioning of material objects, people, animals and building acts to
create a forceful energy pattern which will draw unto itself the desired result. Thus in
Feng Shui the most propitious distance between two points in time-space is usually not
the pre-anticipated route shown on the maps but the route permitted by the guardians of
the terrain. In such [MagSorAlch] practice, one does not “sit tight” trying to engineer
causes mentally but perhaps seeks out a different location, where the dread but fated
event is not naturally on the agenda and/or re-arranges the furniture or garden to break a
streak of bad luck and odd behavior on the part of spirits or humans.
I) Mysteries of resonant structure, the multi-dimensional grid
Yet in other [MagSorAlch] practices the goal is to engineer a semi-permanent, sturdy
structure—the frame of the loom of destiny—within which the patterns of life/death and
destiny might also be engineered. After all, as is often forgotten, the famed Egyptian
pyramids were tombs although the pyramids of the Aztec and Mayan cultures were
observatories. These were long-lasting monuments within complex cultures which
believed firmly in the soul-identity of the individual. They also believed that there were
“gods” in that continuum, rulers of the shadow realms of the underworld and rulers of the
dark spaces between the tiny points of light which are the stars and planets.
We do not know the exact beliefs of the builders of the South American pyramids as their
glyphs are not alphabetic and no translation lexicon such as the “Rosetta Stone”—a 3rd
century B.C. stone tablet found by chance in Egyptian ruins which had the same
inscription in hieroglyphs, Demotic Egyptian and Greek– has ever been found which
would give the contextual meaning of the individual South American rebus items.
.Perhaps this is because ”missionaries” destroyed manuscripts which might have given
some clue to the true function of the observatories, ceremonial altars and game-playing
plazas which remain in the ruins of the South American temples. This probably caused
other interpretative artifacts and writings to be concealed. A South American “Rosseta
Stone” may thus exist in some obscure location where it was put for safe-keeping.
We know that the pyramids of ancient Egypt were tombs, long-lasting monuments within
a complex religion which believed firmly in an “afterlife” and that the soul-identity of the
deceased survived the material body in another continuum. In this context, a tomb is also
the gateway to other dimensions of existence. If this is so, then why embalm the body, as
the Egyptians did so elaborately? Why not simply cremate the body and scatter the ashes,
as in other religious practices wherein the spirit of the deceased is assumed to transcend
material form? The Egyptian pyramids were also carefully placed with reference to
NSEW directional alignment. But the elaborate cache of valuables within these
structures only has provided sustenance for bandits and looters over the centuries since
the energy bodies of the occupants, as the Egyptian magi knew, have traveled into the
(n-4) dimensions, the energy worlds for which their souls were prepared. . Yet might this
stashing of ancient artifacts in the glass cases of colonialist museums actually be a form
of Diaspora for the intricate systems of thought , and perhaps also the spirits attached to
those systems of thought, which may date in some yet uncommemorated way back to the
partly-remembered structures of the antediluvian , nominally “Atlantean” civilization?
Locked within these gigantic, mute and misunderstood structures , as within the statues
and ancient structures on isolated islands in the Pacific ocean, may actually be the
mysterious “occult wisdom” which causes people to invent stories and systems based on
the imagined “magic” of ancient Egypt and the lost cities buried deep in the African and
South American deserts and jungles. The secret actually concealed within the stones and
geometric architecture which exists in similar ancient structures worldwide may be a
form of “goetic” [MagSorAlch].
J) Attachment of “spirit entities” and “energy forms” to material objects,
The “goetic” practice attaches spirit entities to objects, diagrams, text and sound and
calls forth spirits by names which are actually composite arrangements like the ancient
rebus glyphs or our more modern concept of [MagSorAlch]. The “name of power” is a
multi-dimensional nexus which is not a hologram. One must know the exact “name”, as
in accessing an Internet domain name, but the “name of power” is not strictly alphabetic.
In an email correspondence recently, a frightened student of Kabbalist mystical systems
criticized the author of this paper for even mentioning by name one of the “angels” this
student is familiar with via a learned system of written correspondences. But this hypercaution
involves a misunderstanding of the identity of the Intelligence thus briefly
“named” . For it is not the simple alphabetic name XYZ which is the “formula of power”
but the detailed understanding of the various aspects and capacities of the Intelligence
thus briefly “named” which may, for good or ill, call forth that Intelligence in multidimensional
form. “Accidental” activations of angelic and/or daemonic intelligence may
thus actually be due to sudden Gnostic understandings rather than strictly a matter of
alphabetic accuracy. For certain powerful Intelligences may remain nameless or be
summoned by a variety of different names and invocations.

K) Shadow costumes and costumes of the shadows
On one Monday night in April 2005 in the early hours of the morning, I was sitting in the
living room having a snack when I saw a shadow in the adjacent dining room which
resembled a tall figure in a robe, wearing a distinctive square-topped headdress. This was
a shadow silhouette. No face was seen. The next day I drew this figure on the back of an
envelope . When I attended a museum reception that same evening I noticed that one of
the outfits in a historical display of American theatrical costumes , the only one of the
manikins to have a display head attached, looked significantly like the shadow apparition
I had seen in my dining room. Immediately, I included this similarity in the draft of a
long poem entitled “the grid” which I was then writing. The poem is about the interconnected structure of the cosmos, past and future. Part 6 of this poem is quoted
between the previous sections D and E as copied from the work in progress.
But there is another facet to the experience which may prove significant. After sketching
the outlines of the shadow silhouette I had seen, I noticed that it resembled a distinctive
sketch made from the description of a witness of the Zodiac serial killer, an individual
using a black magick mystique who terrorized the San Francisco, California area in the
late 1960’s and has never been identified or apprehended. Later, an unrelated sense of
dark energy and foreboding, simply the sense that I might be followed by persons then
leaving crank calls on my voice mail, almost caused me to skip the museum reception
which I would later discover contained the costume similar to the shadow apparition. But
the costume with the square-topped headdress itself was from the “Imperial Guard”
characters in a science fiction play and was brightly colored in a glittering fabric.. I did
note the photo of actor Rudolf Valentino on the wall of the exhibit in flamboyant robes
with the caption that he was not allowed to be buried in New York City and was laid to
rest in a cemetery in Hollywood. Who knows what ghosts might haunt the costumes such
a conflicted personality once wore in life!
The popular black & silver attire of Wicca, Gothic and [MagSorAlch] enthusiasts is
certainly not the entire spectrum of costuming used by the successful shaman or
magician. All colors and combinations of colors should be possible as a sensory
projection of the desired mental state of the practitioner and/or the desire to enhance the
interlocking of perceptions between the Enchanter/ess and the Enchantee on such
occasions..
L) Inside the Chant
Note the word “Enchant” in English. This represents the entraining of the
mind/perceptions of the participants in some [MagSorAlch] activity “inside the chant”
as when a special “vibratory space” is created by the actual sound of people repeating
together a song or mantra. To be “inside the chant” at a unique location within the cosmic
loom-space creates a powerful opportunity for projecting one’s inner virtual image
(perhaps enhanced by the participation of spirit and/or non-human Intelligences) into the
larger cosmic patterning being woven as shared destiny .
In fact, the “Axis” powers during the mid-twentieth century World War Two were aware
of this type of enchantment mechanism and research was done at that time b y the “Axis”
powers involving certain locations thought to be centers of power actualization through
virtual linkage. These were usually remote mountain, desert, jungle or island locations
known to have been the sites of successful shamanic invocations of yore.
M) Evocation at ruins as versus currently active centers of commerce
Yet give this a moment of thought. Why go to obscure ruins of ancient shamanic sites
when there are thriving contemporary cities, resorts and installations which are also,
evidently, centers of tactical power? Possibly the “Axis” political endeavor failed in
using [MagSorAlch] techniques partly because their adepts went back only to
mysterious, unknown practices and locations. The mystery within presently active centers
of commerce may be greater particularly if these have persisted as trade hubs for many
centuries and are still prospering. One recalls here the bustling tourist business at various
ancient “shrines” which still attract oracular prosperity.
Perhaps if one traveled as a tourist in sequential time as well as physical space some
[MagSorAlch] power might also be gained from such a journey. But tapping such a
power source would involve not a visit to ruins but to a structural node on the cosmic
time-space grid which has generated commerce kingdoms and/or whatever else might
be desired by the individual magician. .If successful, such an excursion in time might
include contact with the local spirit Intelligences maintaining the interdimensional grid at
that particular time-space location. The word “Oracle” in Greek signifies a location, not
any specific person. For many different people may become the mouthpiece of the
“powers that be” The live “intelligence of a geo-location provides an interface with the
larger cosmic time-space grid which is both literal and a virtual analog to the place of that
location in the larger cosmic framework. A way to conceptualize this situation is that the
place itself, the terrestrial, planetary or solar location, has a “memory” which can be
accessed.
This type of grid access is similar to a person standing at an intersection which has
existed for fifty years and vividly recalling a parade or accident seen there twenty years
ago. Think now in “light years” , epochs and centuries rather than hours and days. The
key here is that the true, interactive memory is unavailable without the “live” intelligence
to access it. The additional energy interfacing with the landscapes perceived by sensory
means is a form of self-organizing live intelligence. So all of these “time travel” activities
may be a specialized form of goetic [MagSorAlch] as described in section J…

N) Static diagrams of moving time
How do we approach any useful “understanding” of this situation? For although the
mind and the active perception can travel in time we cannot lay out a literal timescape
inside the three-dimensional “E/M box” since the “E/M boxes” are contained in a timeordering
which is beyond their dimensional boundaries. . Even in a video which is a
flowing sequence of intercut scenes the view is limited to a sequential mode of four
dimensional perception. Therefore, as in the ancient glyphs, [MagSorAlch] is best
represented by a picture in which various different locations in time-space are shown
simultaneously. This is not an isolated symbol but a contextual matrix oriented not
simply on the NSEW axis but as a shuttle in a moving loom with many gyroscopic
reference points.

Dance, dance the ribbon circle: Bringing in the seasons.
Why O why do the dancers circle? None can give a reason.
Weave, weave the ribbon basket, knotted in a spiral.
See O see the ribbons lengthen: They’ll be short tomorrow.
Come O come and take a ribbon: Give one to your lover.
Springtime is the proper season to choose one another.
See O see the ribbons shifting: Woven round an axis
Seasons mesh to make a new year: All the past is ashes.
Merry, merry, it be Spring here anytime you choose it.
Love be the magick ever present: Never wait to lose it.

[from the SIX WAY TIME PLAY aka EYE OF FIRE, an interdimensionalist musical]

Magick,Sorcery & Alchemy From All ∞ Directions
Text, illustrations & lyrics
Copyright 2005 E. Macer-Story
Contact: http://magickmirror.com
http://fluidice.com
[email protected]
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