The Semiotics of Transpersonal Experiences

The American philosopher Charles Sanders Peirce (1839-1914) is perhaps best known for his semiotics (or ‘theory of signs’). For Peirce, meaning arises through the formation of relationships between the elements of a sign, providing a spectrum of infinitely nuanced kinds of meaning. The elements of a sign, according to Peirce, are the sign itself (i.e. its material form, also referred to as the ‘sign-vehicle’, in order to avoid confusion); the object that it signifies (regardless of whether this is abstract, hypothetical, or something available to perception); and the interpretant.

Charles Sanders Peirce

Charles Sanders Peirce in 1875.

It is this latter element that gives Peirce’s theory its uniqueness and strength. The interpretant is the effect upon a person by the object via the sign. If this sounds tautological, to a certain extent it is. Indeed, Peirce points out that the interpretant itself is actually another sign, with its very own object and (potentially) a subsequent interpretant. This explains why one thought always tends to lead to yet another. To give a more concrete example, it also describes how a strange shape in the sky can act as a sign-vehicle, creating an interpretant in a witness in the form of a shout of ‘Aliens!’, which in turn – as a new sign-vehicle in itself – causes everyone in the street to look upwards, etc., etc. Peirce’s semiotics enables us to see that meaning is an indeterminate, potentially endless process. What is also crucial here, however, is the notion of signs having effects, of meaning as an embodiment, a manifestation, a change wrought upon someone by their coming into some type of relationship with a sign-vehicle.

Peirce’s theory is an important contribution to the history of ideas. I thoroughly recommend it. But I am about to mix it up with other models and riff off of it something rotten, and I would not wish anyone to confuse what follows with anything that Peirce himself wrote.

Recently, the Integral philosopher Ken Wilber has turned his mind to what he calls ‘Integral Semiotics’ (Wilber, 2013). This is an interesting project that situates meaning itself within Wilber’s model of all phenomena, that gloriously baggy and inclusive amalgamation of quadrants, stages, states, levels and lines. Although Wilber seems to accomplish his stated task of describing the ‘Kosmic address’ of many different types of signs and referents, it seemed to me that all the types of signs he discusses are signs in the same way, even though they occupy different positions within his model and point to different objects.

By combining Peirce’s theory of the sign with Wilber’s model of the states of human consciousness, it seems possible to formulate and situate not simply a range of different signs and referents, a range of different meanings, but also a range of fundamentally different processes by which meaning is made.

The first three of these are common in everyday cognition, and are those most frequently described in the works of Peirce himself.

Icon

an icon of Jesus Christ

Example of an icon, which signifies Jesus because it looks like (a particular image of) Jesus.

First, we have the simplest form of sign, which Peirce named an icon. The icon signifies its object by virtue of the fact that it appears in some respect the same as its object. For example, a portrait signifies its subject to the extent that it visually resembles its subject. Because icons are so close in their perceptual manifestation to their object, they are perilously close to literalism. For instance, a gesture we might make to signify ‘milking a cow’ is likely to be almost the same as actually milking a cow; or the sound of a peacock that we might imitate in order to signify ‘peacock’ might be accurate enough to be virtually indistinguishable from the sound of the peacock itself. (As these examples suggest, not all icons are visual.)

The icon is so simple that it occurs spontaneously and prolifically in nature. There are many instances of plants or animals making use of certain colours, shapes or sounds to pass themselves off as something other than what they are. By looking or sounding or smelling like something else, they create an effect upon other animals as if that something else were actually present. For example: those yellow and black-striped midges, which look like wasps, but are actually harmless. This colouring may be unwilled or unconscious on the midge’s part, but it has nevertheless effected change upon the world through an appearance that creates the impression of the immediate presence of the thing initiated by the appearance. Example: someone scared of wasps ends up running away instead from a midge.

Index

footprints

Example of an index: footprints in the sand, signifying presence and passage.

Peirce’s second type of sign is the index, which is slightly more sophisticated in that it signifies not what is immediately present, but what may be elsewhere, or which has not yet come to be. The classic example of an index are footprints in the sand, indicating the presence of another person on the desert island. The footprints do not look like the person; they do not resemble the person in any way. An index is, instead, an existential marker. In the absence of the object itself, the index signifies its presence, nevertheless, elsewhere in space or time. An arrow on a motorway sign is another classic index, signifying that although the turning is not here, nevertheless it exists further down the road.

Indices, too, are simple enough to arise in nature. Causality is often sufficient to lay down indices. For example, back in my schooldays, we all knew that a cirque or morraine is a sure index of the passage of a glacier in the distant past. It requires even less expertise to recognise a large thundercloud as a future-oriented index to a storm that is not here now, but will be soon.

Symbol

Signs take a quantum leap at Peirce’s next stage, the symbol. These do not arise in nature, but seem to be associated with consciousness. Imagine if the only signs at our disposal were things that resembled their objects, or things that pointed to where or when their objects were. If that were the case, we would not be able to imagine it being a case – or be able to imagine anything very much at all.

The most prevalent instance of a symbol is the word. A word looks nothing like its object (except for the word ‘word’, which does indeed look identical to a word). And a word has no causal or existential connection with its object (unless we lend credence to the superstitious saying, ‘Speak of the Devil and he will appear’).

Earlier, we mentioned Peirce’s notion of the interpretant – the effect of the sign upon the person who encounters it. In the case of the icon, the effect is the impact of something perceptually similar to the object. In the case of the index, the effect is the impact of an existential trace of the object. In the case of the symbol, however, the effect is the impact of culture: the influence within us of a consensus that the sign-vehicle refers to the object. In other words, a symbol points to its object because we know that is what it points to. We know, because we have been taught.

These three varieties of sign are Peirce’s fundamental types, but they equip us with some profound and powerful ideas. Yet it is important not to over-simplify this model, because ‘pure’ examples of these types of signs are actually quite elusive. Take the arrow by the roadside, for instance. Although footprints and thunderclouds may arise in nature, arrows do not. It is only a human convention that decrees that arrows signify motion in a particular direction. In other words, many of our so-called ‘indices’ actually have a distinct aroma of ‘symbol’ wafting from them. Likewise, the so-called ‘icons’ on our computer desktops. Sure, they are a visual representation of their object, but that object is something quite abstract, so it is actually a symbol doing most of the icon’s work.

Signs occur in nature – or rather we can read as signs certain processes within nature. Some might argue, for instance, that DNA works as a kind of naturally occurring symbol, but – in my opinion – this is pushing the idea too far. As soon as we reach the threshold of a symbol, it seems there has to be a mind involved. Activity on a physical level, no matter how complex, will not fit the bill. Living organisms can evolve to resemble other things, and physical process can put down traces of themselves – both of these without needing anyone to be around to recognise them as such – but for us to describe these processes as constituting an ‘icon’ or ‘index’ then there has to be a mind to which this analogy occurs. To see a tiger’s tracks, or the red colouring of an insect, yet to think ‘this is a sign’, is a symbolic process. In order for any kind of symbol to get off the ground, there needs to be a mind in which the sign-vehicle (‘tiger track’, ‘red marking’) and its object (the concept of ‘icon’ or ‘index’) can be brought into conjunction. A symbol has an effect only where there is a mind.

pi

The Greek letter and symbol ‘pi’, which has no relationship to the value 3.1415… except for the convention that it does.

I am purposely avoiding the idea that it needs to be a human mind, because it seems possible to teach animals and to program machines to recognise and use symbols. Research with chimpanzees, bonobos, dolphins and other species, suggests that some non-humans are capable of understanding and using symbols. What is less clear, however, is whether animals are capable of the creative use of signs that comes so naturally to humans even in early childhood.

Peirce regarded meaning primarily in terms of its effect, so it might have seemed to him justified to regard a computer as a symbol-using entity, because of the way the machine’s software can change in response to the contingencies it has been programmed to recognise. But again, the symbolic inventiveness that comes naturally to humans, giving us notions such as ‘humour’, ‘lucidity’ or ‘style’, still seems very challenging to replicate in a cybernetic context.

We cannot rule out revolutionary breakthroughs in computer science and animal linguistics, but we might still harbour an impression that signs – symbols, especially – demarcate an arena that is peculiarly human. The home we make for ourselves on this planet, in which we feel uniquely comfortable, is a world furnished largely with signs.

Signs and the growth of the psyche

A working definition of mind that I find useful is ‘that which connects us to our experience’. It is a definition put to use quite frequently in the field of psychoanalysis. Freud was the first to suggest that trauma is what happens when extreme experiences impact upon us, without us having the necessary mental equipment to process them (Freud, 1920: 275). An experience the mind is unable to represent simply tends to re-occur in the same form, over and over. Post-traumatic stress disorder might be conceived of as the re-enactment in the body of experiences the mind has failed to contain. To the extent we have a sense of owning and understanding our experience, the mind has processed the experience into thoughts, feelings, memories, knowledge or ideas. A damaged or undeveloped mind is one that lacks this capacity. On the other hand, as Michael Eigen suggests (paraphrasing Wilfred Bion), ‘a central task of humankind is to grow a psyche capable of sustaining the evolution of new places of interaction of diverse terms of experience’ (Eigen, 2005: 58). In other words, the most healthy and developed mind is the one that is capable of making all sorts of links with experience in as many different registers as possible.

We saw earlier how icons and indices are types of sign with precursors in the natural world. A symbol, however, possess no perceptual or causal linkage between its sign-vehicle and its object. It stands for something only because there is a cultural convention that that is what it stands for. The only entity currently known to be capable of linking an experience to an idea through a cultural convention, is the human mind. Once we leave behind the domain of ‘natural’ icons and indices for the realm of the symbol, we have entered the mental realm. It is now no longer the material configuration of the sign-vehicle, nor its existential relationship to the object, which determines exclusively the process through which meaning arises. At this level onwards it is the operations of the mind that determine how meaning is produced. The function of the mind is to link experiences to awareness by building new structures to contain them – words, perceptual images, memories, thoughts, etc. The more developed the mind, the greater its repertoire of structures, and the greater its awareness of these as structures, and of its own activities as a process.

This last point addresses a difficulty in defining the mind as that which represents or links experiences. Who or what does it represent them for and to? It is in response to this conundrum that Buddhist psychology distinguishes itself from the Western view, and regards mind simply as a sense (the sense that enables us to discern ‘inner’ processes, such as feelings, thoughts, etc.) rather than as an irrefutable subject, the Cartesian ego, to whom our experience is offered.

The sense of being someone, the sense of owning or mastering our experience and the representations thrown up by ‘our’ mind, is itself simply another one of those structures the mind uses to link with and process experience. The impression that ‘this right now’ is ‘something happening to someone’ is a structure with immense utility as a survival mechanism, thrown up by the mind in response to experience, perhaps even acquired innately through blind Darwinian selection processes.

Despite appearances to the contrary, occasioned by poor levels of understanding both within and between science and religion, Darwinian selection and the teachings of the world’s great spiritual traditions are capable of sitting happily side-by-side. The practices of esoteric traditions – such as meditation, prayer, the cultivation of compassion and selflessness, etc. – were specifically designed to expose the sense of self as a mental structure (a notion that science has little argument with), and to open the way to transpersonal states of consciousness.

These are experiences that arise when ‘the sense of self as a mental structure’ ceases to be an idea (which is itself an instance of a mental structure) but becomes instead a direct, lived experience. A useful analogy is the way that many of us reach a point when losing our virginity ceases to be an idea and becomes a direct experience. Our ideas may have described or prepared us for this experience, but otherwise they will bear little comparison. When transpersonal experiences arise, the mind will most likely offer up further mental structures to represent these experiences. The transpersonal experience is integrated by the mind’s creation of a structure to link it with. At first, such experiences may seem singular and outlandish. With time and repetition, they tend to settle into recognisable registers. These form the basis for new modes of apprehending experience, new ways of making meaning from the reality in which the mind finds itself, a reality in which it grows towards recognising its own processes as processes, rather than as the possession of a self somehow apart from experience.

Visions

I would suggest that the first of these transpersonal registers is the vision. It is similar to the symbol, but differs in a crucial respect. Whereas a symbol allows linkage of a sign-vehicle to its object through cultural convention, the vision invents a convention of its own.

The means of inventing a convention may vary. Usually, some form of imaginative activity will be involved. Fundamentally, a visionary uses his or her imagination to link concepts in novel or different ways from the consensus. In computer science, for example, the inventors of the graphical user interface are now lauded as ‘visionaries’. What they accomplished was a work of imagination, conceiving new metaphors that could be applied to communicating with computers. They replaced the previous idea of ‘commanding’ the computer with a new metaphor of a desktop-like ‘space’, on which data – represented as ‘objects’ – could be picked up, moved around and worked upon.

Another example of a vision, from the field of art, is Marcel Duchamp’s Fountain, the infamous signed urinal banned from the exhibition to which he submitted it in 1917. It is visionary because Fountain left behind the idea of art as artefact and opened up a new arena in which found objects, concepts, or the context of an object could all be understood as art. Formerly the consensus was that art consisted of objects made by trained artists. But to understand what Fountain signifies, as a work of art, then the consensus that art = artefact must be set aside. In this sense, it surpasses a symbol and fulfils the criteria of a vision.

'Fountain' by Marcel Duchamp

‘Fountain’ (1917) by Marcel Duchamp. Once, a vision. Now, a symbol.

However, visions are vulnerable to reincorporation by the consensus they override. Duchamp’s Fountain functions now as a symbol for modern art in general. Likewise, the innovations of computer pioneers are adopted as the universal platform on which future developments are built. A vision that is commonly understood is useful as a means of describing what a vision is, but the point at which it becomes readily comprehensible is where it has already lost its unique aspect. A vision that is easily understandable is one already digested by the consensus and which therefore symbolises something, rather than gesturing towards the new or unknown.

The prophetic books of William Blake, on the other hand, have retained their visionary significance over the course of two hundred years. These are a series of illustrated poems that dramatise Blake’s spiritual ideas through a cast of mythological characters. These figures, the conflicts they enact, the principles they embody, are the products of Blake’s imagination, described by some as amounting to a ‘personal mythos’. The way Blake interprets experience is still widely at odds with the modern consensus, although in some respects he is closer to it than he was to that of the times through which he lived. Certainly, it is possible to read Blake’s characters as symbolic manifestations of various psychological principles and processes, but the only source for understanding them on their own terms is still Blake.

The Four Zoas

Blake’s depiction of the relationship between the Four Zoas in ‘Milton: a Poem’.

If we consider Blake’s prophetic books in comparison with other works in the epic tradition, such as Dante’s Divine Comedy or Milton’s Paradise Lost, these re-work mythological themes and figures from the established traditions of Christianity and classical antiquity. The imagination of Dante and Milton enables them to transform these themes into something unique, yet they abide very much in a relationship to the traditions within which they positioned themselves. Blake’s work, although of smaller scope in many regards, is greater in others, because of the way he imagines ‘from the bottom up’. Instead of placing himself inside a tradition and looking out from it upon experience, he attempts instead to build a new tradition of his own, and in the process thoroughly re-imagines the world.

But a word of caution is in order. In a vision, the consensus is re-imagined in order to allow new meaning to flow. Yet there are two other possibilities that may only produce the appearance of this: (1) that the consensus is not being re-imagined but bypassed, in which case the product will be nonsense; or (2) that the consensus is being denied, or that one simply lacks the mental equipment to hold to the consensus in the first place, in which case the product will be madness or stupidity. True visionaries are often accused of all of these. So too, unfortunately, are people who are simply nutty or dim. We must try to decide wisely in each case which we are dealing with.

Synchronicity

In the same way that the vision might be described as a (non-consensual) version of the symbol, so our next species of transpersonal sign, the synchronicity, might be introduced as a transcendent version of the index.

The sign-vehicle of an index, it will be remembered, stands in an existential or causal relationship to its object. So too the sign-vehicle of the synchronicity, except it signifies its object in a non-causal manner.

The classic example of a synchronicity is the one used by Carl Jung to introduce the concept. A hyper-rational female patient was relating to him a dream concerning a golden scarab beetle (a symbol of rebirth). Jung opened the window, and a golden beetle flew into the room at this exact moment, of a species that was the closest thing to a scarab the climate of Switzerland allows. According to Jung, this blew his patient’s mind. A psychological rebirth ensued in which she was able to let down her hyper-rational defences.

Cetonia aurata

Cetonia aurata. Jung’s ‘golden scarab’.

Jung’s definition of synchronicity is ‘an acausal connecting principle’. Jung is suggesting that the dream of the golden scarab was truly connected with the arrival of the beetle through the window. Not causally, of course, because dreams cannot cause beetles to appear; but nevertheless linked in a real sense. What this ‘real sense’ is would seem to have to do with meaning. In a synchronicity, it is as if meaning is the basis for things to happen in the world, rather than – as seems more usual – happenings in the world supplying the basis for meaning.

Whereas the sign-vehicle of an index points to a specific phenomenon within the world, what gives a synchronicity its unique sense is an impression that the world in a general sense is pointing back at us. Jung’s patient, as does the subject of every synchronicity, regardless of its particular content, experiences the sensation that the universe is sending them a personal message. ‘Look how what is most personal, private and innermost to you,’ the universe says, ‘is here affirmed by me; I, who ordinarily seems outermost and indifferent.’ A synchronicity is a form of signification that demonstrates how the flow of meaning between sign-vehicle and object is not necessarily one-way. The object of the sign here speaks back to us through the sign-vehicle; the dream is verbalised, a golden beetle manifests in the consulting-room, and an actual rebirth takes place.

Synchronicities can arise in many contexts – for example: psychotherapy, religious practices – or in none. The synchronicity is especially strongly associated with magick. When a magickian performs a ritual, it is a synchronicity in which the result manifests, because a magickal ritual usually has no causal efficacy to produce a result. A magickian, or anyone else who experiences a synchronicity, is someone who has broken through to a certain level of meaning, someone who has succeeded in creating a certain type of sign.

The common factor in these experiences seems to be a certain re-focusing of consciousness. Personal messages from the universe are directed only at those who are open to receiving them. This re-focussing of consciousness might be described in terms similar to the ‘bracketing’ or epoché proposed by the philosopher Edmund Husserl (1859-1938), in which we aim to engage with only and exactly what we experience, ‘bracketing out’ any ideas or assumptions as to the validity or actuality of experience, or any reactions to it. This is a means of apprehending the mind that also forms the backbone of the technique of vipassana meditation, and other perspective-altering meditative techniques.

To recap: a symbol requires mind, because only a mind provides the cultural consensus that can map arbitrary sign-vehicles onto objects. To go beyond the symbol therefore requires usage of the mind in non-consensual ways. To have a vision, consensus is modified by imagination or other means. To experience a synchronicity, meaning is shifted into the register of an experience rather than an idea.

Koan

Our final species of sign (‘final’ in the sense that I have not encountered anything beyond it, or heard reports that there is such a thing) is the koan. It is somewhat like an icon, in the sense that an icon presents a picture or sensory analogue of its object. Yet whereas the icon possesses a form adequate to the task of representing its object, the koan draws attention instead to its manifest inadequacy.

The best-known example of a koan is that attributed to Hakuin Ekaku (1686-1768): ‘You know the sound of two hands clapping; tell me, what is the sound of one hand?’ The sign embodied by the words ‘the sound of one hand clapping’ is our koan in this instance. Because it is not possible to clap with only one hand, the sign produces a sense of paradox or confusion. Instead of conveying or clarifying a meaning, it halts the process of signification.

But this is only the prelude of the semiotic operation of the koan. In Buddhist traditions – particularly Zen – koans are used as a teaching tool for creating in students ‘the great doubt’ and leading them to satori, an experience more commonly translated by the term ‘enlightenment’ or ‘awakening’. Just as visions and synchronicities convey us to particular transpersonal states, so does the koan. Its domain of operation is the full-blown spiritual experience, the non-dual state of consciousness.

It is mistaken to assume a koan has no meaning. The confusion that arises on encountering the koan is not to be taken for its intention or meaning either, but as part of the means by which it signifies. The sense of confusion, stupidity or nonsensicality arises because the sign-vehicle fails or refuses to point to a recognisable object, for in the domain of non-dual experience there is no distinction between subject and object.

Calligraphy by Zen Master Hakuin Ekaku

Calligraphy by Zen Master Hakuin Ekaku, representing Bodhidarma.

Within non-dual awareness it is evident that the apparent distinction between subject and object rests on the assumption of a difference that cannot be found within the experience, except as the harbouring of an assumption. Whereas, in a synchronicity, meaning is apprehended as itself an experience – rather than somehow sitting outside of or transcending experience – and by this means the universe itself ‘speaks’ to us, in a koan this process is taken a step even further. Meaning itself is exposed as resting upon an illusion of separation between sign-vehicle and object. In actuality, there is no qualitative difference between them to be found within the experience of meaning. Once this is realised, the basis of meaning therefore falls away.

From this perspective we can see how a koan works, even if we have not personally encountered non-dual states of awareness. By presenting us with a sign that fails or refuses to point to an object (‘the sound of one hand clapping), the koan provides a dualistic taster of non-duality, in which it is not that signs fail to signify (Zen masters are still fully capable of thought and speech), but in which the basis of meaning itself is whisked away and exposed as neither transcendent nor non-transcendent.

The perplexity we feel on encountering a koan is the effect of bringing to bear on it our dualistic expectations of meanings. Concluding that it does not mean anything, or that it is okay for it to mean whatever it means, are nevertheless attempts to pin it with a dualistic meaning. The actual intention of the koan is to deliver us to a state where there is no separation between signs and meanings. When this lack of separation is realised, the ‘sound’ of one hand clapping is indeed recognised.

Two hands clap because, being two, they can be brought into opposition, just as sign-vehicle and object can be brought into opposition to make meaning. But, as Peirce himself suggested, the effect of a sign, its interpretant or meaning, is not transcendental; it is itself another sign. So there is no meaning apart from signs, nor signs apart from meanings – they are all, at root, the same thing.

Other koans work the same way, and all koans point at the same object – or rather, the same object that is neither an object nor not an object. For example, another classic koan: ‘Where is this?’

Ordinarily, this would be taken to mean ‘Where am I?’ – that is, ‘What is the physical location in space of my body?’ In which case, the answer would be any label we can give to that location. But once we explore its meaning more deeply, we start to feel unsettled by what the ‘this’ in ‘Where is this?’ can really mean. What is ‘this’? Presumably it is the experience we are having right now. So the koan begins to take on the meaning of ‘Where is experience?’ Surely the experience is in my mind. Is the answer not, therefore, ‘In my mind?’ But where is ‘my mind’? In my brain, presumably. If I pause and check, it might even feel like it is indeed inside my head. Maybe that is the answer: ‘Inside my head’. But then, where is the feeling that ‘this’ is inside my head? Presumably that is inside my head too – in which case, what is the difference between ‘this’ (experience) and the place where ‘this’ is (in my experience)? It is starting to look as if they are the same. But how can that be…?

If we can work with the confusion, rather than recoiling from it or reacting against it; if we can see past the koan’s everyday meaning, and let its nonsensicality seep deeply into us, finally we are led to a place where we experience directly that ‘this’ (our experience) has neither none nor any specific location, nor any claim to separation from the sense of ‘me’ or ‘mine’ that arises as a sensation within it. And by grasping the senselessness of the koan we suddenly wake up to the undefiled knowledge of exactly and precisely ‘where this is’.

References

Eigen, Michael (2005). Psychic Deadness (London: Karnac).

Freud, Sigmund (1920). Beyond the Pleasure Principle. In: The Pelican Freud Library, vol. 11 (Harmondsworth: Penguin, 1984).

Jung, Carl (1952). Synchronicity: an Acausal Connecting Principle. In: The Collected Works of C. G. Jung (Princeton NJ: Princeton University Press, 1969).

Wilber, Ken (2013). Integral Semiotics. Accessed September, 2013.

The Myth of Psyche and Eros

There seem to be many esoteric wonders lurking beneath the surface of the myth of Psyche and Eros. First related by the Roman novelist Apuleius (c.125-c.180) in The Golden Ass, the standard interpretation is that the soul (Psyche) must undergo trials and tribulations in order to be purged and made divine.

Antonio Canova, Psyche Revived by Cupid's Kiss (c. 1787).

Antonio Canova, Psyche Revived by Cupid’s Kiss (c. 1787).

I think there is much more detail to be harvested from it than this. The myth seems to be a discussion of the relationship between our mind (and/or soul) and our desire. It seems to assert that the human soul realises its divinity only through close union with desire. Here is my attempt at a full summary and interpretation.

Psyche, despite being mortal, is worshipped for her beauty as a goddess.
The psyche is immaterial and intangible, like a god. Unlike a god, however, it is mortal. This combination of mortality and divinity makes the psyche uniquely, wondrously beautiful.
Aphrodite, angered, sends her son Eros to bring Psyche down a peg by causing her to fall in love with an unworthy man.
Unlike a god, the psyche is subject to desire. Desire for inappropriate objects is the perennial flaw that can prevent the psyche from enjoying communion with the divine.
Psyche attracts no mortal suitors, because she is regarded as divine. Her father consults an oracle who declares she must be left on a mountain-rock and married to a snake-like monster. She accepts her destiny and makes her way to the rock.
Desire can be the ruin of the psyche, but without it there is isolation and misery. The punitive voice of conscience suggests falsely that this is the only way.
The West Wind wafts Psyche away to an exquisite, beautiful house. A voice tells her that all this is hers. There is wonderful food, music and singing. She goes to bed and the unseen owner of the voice comes to her and makes love to her. This goes on for many days and nights.
If desire is prevented outwardly then it can turn inward, offering the consolations of fantasy, reverie and artistic creativity. We may not recognise this as the exercise of our desire, even though we enjoy it and live with it intimately.
Psyche’s lover warns her that her sisters are searching for her, but she must ignore their cries. Distraught, Psyche seduces her lover into allowing her sisters to visit.
The ties to external reality are strong. Our natural state is to be moving always between inner and outer reality, never comfortable being in only one of them.
She shows her sisters the house and its entertainments. She gives them gold and jewels. The sisters are envious and want to know who her lover is. She makes up a story about a handsome youth. The sisters bemoan their own imperfect husbands and their lot in life. Back home, they hide the jewels and pretend not to have seen Psyche. They plot to kill her.
The life of the mind is individual and unique. Its products can be shared, but not that life itself. No one can take our inner world from us. Some people (especially those of an authoritarian cast) are driven mad with envy and impotence when confronted with this truth.
Psyche’s lover warns her of the plot and reveals she is pregnant. If she keeps the baby a secret, it will be born divine. Otherwise it will be born mortal.
Our inner world is a site where something – everything – is always about to come forth. Once we define this, it assumes a form and becomes transitory and mortal. The ‘divine baby’ is the infinite, inexpressible potential of the mind itself.
Her lover later warns her that her sisters are on the war-path again. She must exercise self-control and not let them in.
As we have already seen, the ties to the external world are strong. It would be inhuman to ignore them altogether.
William-Adolphe Bouguereau, The Abduction of Psyche (1895).

William-Adolphe Bouguereau, The Abduction of Psyche (1895).

The sisters force and charm their way into the house and start asking about Psyche’s lover. She tells them he is a middle-aged businessman. The sisters begin to suspect her lover is a god, and are driven into paroxysms of envy at the thought she might give birth to a divine child.
The objects of our desire and fantasy are always changing, never consistent, never truly knowable. That is what is so wonderful about them – but it drives the sisters nuts!
When they call again they tell Psyche they know her lover is a monstrous dragon who is planning to kill her after she gives birth.
People following their own desires are often confronted with this argument that they are being led to destruction. It may be true, but here we know that the sisters are not motivated by Psyche’s best interests.
Devastated, Psyche submits to their argument. The sisters persuade her to keep a razor and a lamp in the bedroom. She is to cast the light of the lamp onto her lover when he returns, then cut off his head with the razor.
Reasonable doubt destroys the peace of the inner world. Desire is to be killed off, flooding it with the light of analysis and slicing it up with the knife of rationality.
Her lover returns. They have sex. He sleeps. She raises the lamp and sees him, and is entranced by his wonderful beauty. He is – of course – Eros! (aka Cupid) Examining his arrows, she pricks herself and falls in love with him.
Rationality, properly exercised, need not kill desire. Rather, it enables us to perceive our desire more clearly and realise its mystery and beauty…
A drop of oil lands on Eros. He wakes, realises what has happened, and flies away.
… unless we take rationality too far! If our desire looses too much of its mystery, it is wounded and takes flight.
Psyche meets Pan, with Echo. Pan advises Psyche not to pine away, but to make prayers to Eros to fix her broken heart. Psyche ignores Pan’s advice.
Pan and Echo represent (respectively) excess and self-abandonment. These are the left and right-hand paths by which Psyche could restore her relationship to her desire, but she ignores them both and takes her own route.
Psyche goes to the house of one of her sisters, tells her about Eros and how he has abandoned her, but she also tells the sister that now Eros wishes to marry her (the sister) instead. The sister immediately leaves her own husband, jumps off the mountain-rock (expecting to be wafted away by Eros) and is killed. Psyche then tells the same story to her other sister, with the same result.
We cannot give away our desires to others. We have sole responsibility for living them out and bringing them into reality. No one else can do it for us. It is as if Psyche destroys her sisters (representing the demands of external reality) in order to prove this to herself.
Psyche wanders, searching for Eros. He, meanwhile, lies suffering from the wound caused by the lamp oil.
It is a metaphysical wound, which is why the suffering seems so out of proportion. Metaphysical wounds can really hurt, despite what we might prefer to believe. The wound is that our desire has become known to us, and we feel we cannot live with what has been exposed.
Aphrodite hears that Eros, her son, has fallen for Psyche and is incensed. She berates him and resolves that Psyche must be the one to administer his punishment by destroying his bow and arrows and cutting off his hair.
Indeed, Psyche has the power to destroy Eros, by recognising him for what he is. Aphrodite is savvy enough to recognise that Psyche can hurt Eros far more than she.
Psyche enters a temple of Ceres where the goddess warns her that Aphrodite is on her case. Psyche pleads to remain, but Ceres casts her out.
Aphrodite is the power of delusion. Ceres is Nature. Even in the bosom of the natural world, there is no escape from the mightier power of delusion.
She enters another temple and prays to Juno, but Juno also casts her out (because, she says, it would be unlawful to harbour another person’s slave).
Juno is urbane, civil life. This arena is certainly no sanctuary from delusion either (as Juno proves by spinning the Law to suit her own agenda).
Psyche decides the only option is to submit herself to Aphrodite, so she makes her way to heaven.
The only way to deal with our delusions is to own and confront them. Psyche’s delusion is that she can live free from desire, even as she is in love with him.
Aphrodite seizes Psyche and leaves her to be tortured by her handmaidens, Sollicito and Tristie (Melancholy and Sorrow).
On a visual level this looks like plain and boring lesbian sadomasochism, but on an internal level it represents the onset of depression, which sets in when we begin to consider our own inner flaws.
They rough her up, then throw a pile of mixed seeds onto the floor, which she must sort.
After depression, mania.
She despairs, but then some humble ants come in, recognise her as Eros’s wife, and sort the seeds. Aphrodite guesses she has not completed the task by herself.
The psyche has its own resources that unconsciously seek to heal itself. At times we may have lost grip of our true identity, we may have problems we cannot bear even to think about or attempt to resolve, and yet there are natural forces within us already gently at work fixing them.
The next day Aphrodite orders her to collect golden wool from some fierce sheep. Instead, Psyche resolves to throw herself into the river, but one of the reeds dissuades her and explains how the golden wool can be found clinging to foliage. Aphrodite, again, is unimpressed.
A reed bends with the water current, and shows Psyche how she can do something similar, avoiding a head-on conflict that she would probably not survive, but obtaining her goal nonetheless by going with the flow.
The next day Aphrodite sends her to a high mountain for a jug of the icy stream-water that plummets down from there into Styx and Cocytus. She despairs at the danger, but an eagle comes to her aid and collects the water. On her return, Aphrodite accuses her of being a witch.
Emotions can pull us down into despair; the eagle represents the part of us that can recognise this and remain detached in order to attain the goal. Psyche is a ‘witch’ to the extent that she uses the powers of the ant, reed and eagle without identifying with them.
Next, Aphrodite sends Psyche to Proserpine in Hades, for a box of cosmetics. Psyche, terrified of venturing into Hell, makes for a high tower, intending to throw herself off.
When Psyche sets her mind on doing away with herself, something else always springs to her aid. Psyche does not make the mistake of believing she owns her inner world. When times are tough she instinctively puts ‘herself’ into the background and allows something stronger than herself to come forward.
Edward Burne-Jones, Cupid Delivering Psyche (c. 1867).

Edward Burne-Jones, Cupid Delivering Psyche (c. 1867).

The tower gives her a list of directions and instructions on how to negotiate Hades. Psyche fulfils them all, except the injunction not to peek inside the box. She does so in the hope that the divine cosmetics might make her more beautiful to Eros.
It is important never to accept or seek comfort in Hades. To be – or to try to be – comfortable in Hell is to make it one’s home; to become insane. Psyche does not make this mistake, but she does make the mistake of failing to recognise that her beauty comes from being mortal, not from appearing to be divine.
Out of the box comes the sleep of Hades. It overpowers Psyche and she lays down motionless like a corpse.
By trying to turn ourselves into something we are not, we die to ourselves. We become a zombie-like shell.
Eros has recovered and comes to find her. He puts the sleep back in the box; he rouses her with the prick of one of his arrows. Then he departs.
Pure desire, pure love, is not fake and therefore never misses its mark.
While Psyche returns the box to Aphrodite, Eros petitions Zeus, who agrees to the union with Psyche, because it will moderate Eros’s behaviour.
Zeus is the god who restores harmony, so for Eros to petition Zeus is to seek the balance whereby Psyche and Eros can exist in harmony and regulate each other. The psyche moderates the blind, amorphousness of our desire, but our desire is what gives the psyche its vitality and direction.
He reassures Aphrodite that the union is not unequal by giving Psyche a cup of ambrosia to drink, at which point she becomes immortal.
The psyche does possess divine status, but – evidently – only through its union with desire. A psyche not animated by love, therefore, is mortal, not divine. This makes Psyche a very different kind of goddess from Aphrodite, who embodies the overwhelming power of irrational, irresistible attraction. The sexual passion represented by Aphrodite reduces us all to the same. But Psyche represents the individual made unique by his or her desire.
Psyche and Eros have a daughter, whom they name Hedone (Pleasure).
When the psyche and desire are in union, then the result is joy.

Steven M. Greer and the Future of Prophecy

Someone is born, has an experience or insight into ‘the way things are’, and their teachings become a new tradition. Buddha, Jesus, Mohammed, Joanna Southcott. Essentially, it’s the same story. But after the prophet has passed away, their insights (provided they were genuine) are misrepresented and misinterpreted until only a hollow shell of ‘orthodoxy’ remains. It is left to the esotericists – those who do not merely ‘believe’, but re-experience the prophet’s insights first-hand – to keep alive whatever contribution was made.

Maybe rationalist materialism will triumph, and future prophets will be neutralised before their teachings cause harm or upset the status quo. Or maybe this ‘messiah’ model is already evolving into something different.

Steven M. Greer is perhaps a case in point. The magickal working I described last time led me, by a chain of coincidences, to an encounter with Greer’s work. He heads up CSETI, an organisation that promotes human-initiated contact with extraterrestrial intelligences, and The Disclosure Project, an initiative to release information kept secret by governments concerning alien technology and above-unity energy devices.

Steven M. Greer

Steven M. Greer, presenting his vision.

Greer and his team recently released a film, Sirius (2013), a summary of their evidence for extraterrestrial communication, and for the conspiracy against free energy. Powerful individuals with interests in fossil fuels are (it is alleged) actively denying the deployment of already-existent technologies, which would provide ready solutions to the problems of humanity.

A focal point of the film is a small, mummified corpse known as ‘the Atacama humanoid‘, which Greer suggests may have extraterrestrial origins or alien DNA. In the course of the film, the evidence suggests the corpse is human, male, and that his mother came from Chile. Some sceptics have seized upon this as an opportunity to ridicule Greer’s extraterrestrial hypothesis. And indeed, the evidence presented (in Greer’s film, it should be remembered) undermines this view. But it also undermines the stance previously adopted by sceptical commentators, which was to ignore the specimen altogether, or to assume without evidence it was a non-biological hoax.

If Greer’s presentation of the rest of his evidence were similarly rigorous and open-minded, then all would be well. But even a minimal amount of research suggests to me that this is not the case. Three items caught my attention.

Remains found in the Atacama desert.

The Atacama Human. Not a hoax, but not an alien.

The first (at around 13’55” in the film) was video footage of a UFO apparently creating a crop circle. This is the infamous Oliver’s Castle video, shot in Wiltshire, 1996. Its provenance is fraught and murky, which might have been enough to make the producers of Sirius think twice. But if that weren’t bad enough, crop circle commentators have since produced a convincing explanation of how the video was created, and have named its creator as a video production specialist based in Bristol at the time. In short, if Greer wanted to include good evidence for a link between UFOs and crop circles, then this wasn’t it.

Second (at 58’50”), is the footage of Dr. Eugene Mallove, a critic of the scientific establishment and its attitude towards the ‘cold fusion’ claim in 1989 of researchers Pons and Fleischmann. Tragically, in 2004 Dr. Mallove was a victim of murder. It is not stated explicitly in the film, but it is certainly implied by the context and the words being spoken by Dr. Mallove as the circumstances of his death are revealed, that there is a link between his position on free energy and his murder. Were this demonstrable, it might be evidence for Greer’s ‘petro-fascist’ conspiracy. But again, some minimal research (a report on the murder in a local newspaper) establishes a clear and prior personal connection between the victim and the criminal. Yet I have come across other sources that also imply this tragic murder is evidence for a conspiracy, and can only imagine the upset it might cause to Dr. Mallove’s family and friends. In my view, it is ethically suspect of the producers of Sirius to use the interview with Mallove in this way.

Free energy device.

LifeHack2012’s ‘free energy device’. I want one!

Third (1h 32’ 30”), is a YouTube video from a user named LifeHack2012. It purports to show a small device with no visible batteries producing light. It caught my attention because it looked easy to make. What isn’t shown in Sirius, however, are the videos posted in reply, reporting failure to replicate the effect. The only video that offers some kind of replication is the one that convincingly argues there are two small watch batteries hidden in the metal casing around the coil.

Perhaps I’m unlucky, and the three items that caught my attention just happened to be misleading, whereas all the others actually lead somewhere more interesting. But, given the minimal amount of research it took to establish to my satisfaction that these three items have little to do with aliens, conspiracies or free energy, it would have been better if the producers of the film had done likewise and had eliminated these items, which do nothing to bolster our confidence in the other claims made in Sirius.

If Greer’s evidence is mostly bunk, then what’s left over is largely magick. This is the part that most might regard as pure ‘woo’, but his ideas on chatting with aliens are perhaps the most solid part of all. (That’s ‘solid’ in the sense of ‘effective on a purely subjective level’.)

Greer suggests that what we call ‘consciousness’ is something the aliens regard and exploit as a technology. To contact aliens, we must switch our consciousness to a level comparable with theirs. Greer is an experienced meditator, and his accounts of meditative states suggest he is probably no stranger to non-dual states of consciousness. These are what can abolish the separation between us and ET. And this is what distinguishes Greer from your usual UFO nut, wrapping him in the mantle of a prophet instead. Of course, as human and fallible as any other prophet since the dawn of time.

Greer’s ‘CSETI Communication Protocols’ are really only a bog-standard magickal invocation: you state your intention, you attain trance, and – wow – something happens that provides an experience of what you aimed for. He has garnered footage of blobby objects moving in the sky, allegedly as a result of these invocations, and interacting intelligently with observers. But it seems impossible to prove or disprove from the images themselves what these objects might be; it can’t be gauged how distant or how near they are. Yet what these images certainly deliver is what they were intended for: a subjective experience of communication with an extraterrestrial intelligence. Whether they have an additional identity in terms of astronomical objects or terrestrial hardware, is a matter open to dispute.

CSETI UFO image.

CSETI UFO image. Invoke them and they (or something) will appear.

Sirius presents what has become a dominant counter-cultural myth of our time: aliens, and a repressive conspiracy intent on covering up their existence. Revelation consists no longer in words alone, but now requires evidence. Disclosure is needed for God’s Kingdom to become a reality on Earth. By ‘myth’ I don’t mean that this view is necessarily false; it represents a reality of some sort, else it wouldn’t endure the way it has. And yet the arrival of the evidence required to affirm it seems far from guaranteed. Greer’s movie, with its hoaxed clips and less than matter-of-fact reportage, has not delivered Heaven on Earth. But the ideal behind it will not die, founded on its appeal to a consciousness transcending everyday life, which, if only it were realised, would obviate the reflex impulse of humans beings to behave like dicks.

But something is changing, perhaps. We already have the message. We lack only a messiah to substantiate it. For substantiation is still the outmoded aim of our would-be messiahs.

Greer has one foot in the past, struggling to manifest miracles, to prove what is perhaps unprovable because everything in the material world has material causes. Miracles were never wonders in themselves, only in the sense of what they pointed towards, something beyond materiality. And yet Greer has one foot in the future also, maybe, because his teaching is not his alone, but an agglutination of the electronic dreams of millions.

A man presenting miracles – strange-looking corpses, videos of UFOs – will never be enough; there will have to be evidence for them also. As time passes, and that evidence fails to materialise, something else will have to act as the vehicle to the Kingdom.

My guess is it will be some kind of experience we can share directly. Truth will no longer depend on the words of an individual, or a person presenting miracles, or even the production of evidence underpinning these. Instead, truth will come first-hand through shared experience. It will deliver Utopia not through physical signs or verbal pointing-out, but by provision of a direct taste of its immediate reality.

How do I know this? Because, in the style of all good prophecies, it has already been written.

An eye appears. Inside the eye is the face of an alien ‘grey’. And inside the alien’s eye is another eye, and another ‘grey’ is inside that – and so on. An infinite regress. […] I hear a voice […] telling me that this image represents the truth. In reality, there is no ‘infinite regress’; the mystery of the aliens is not ‘deep’, but is flat like the mask. […]

I see communication satellites orbiting the earth. The notion of aliens is merely information being passed from satellite to another, there is no material substance. A god in the shape of a gibbon appears. It is Thoth, and he is in the communications satellites. He is a spider-like connection between the satellites, sending his web across the world. […] His body is every piece of media in the world. All the lies of the media are ‘good’, because they make Thoth’s body strong. To make him strong, there has to be diversity in the quality of information passed around the world. This is his positive aspect. We are in a transitional stage where lies will build up the god’s body, and from this something good will arise. Thoth will come into dominance, and hold sway over the earth. The ‘alien conspiracy’ is merely one strand of lies in the diverse body of Thoth that will give way in time to something positive.

The Buddha appears, because building the body of Thoth leads to the Buddha. When the lies have passed, Thoth leads to the Buddha. When the lies have passed away, the Buddha-body is built. Thoth is the Buddha.

Sefer Aemeth (forthcoming), Aethyr 21.

The Being we call the Christ was once on earth in the flesh at the beginning of our era. He will never come again in a physical body, for that was a unique event and will not be repeated. But He will come again in an etheric form [...] Men will learn to perceive Christ inasmuch as through this etheric sight they will grow towards Him. He does not now descend as far as the physical body but only as far as the etheric body; men must therefore grow to the stage where He can be perceived.

It will then no longer be necessary to amass all kinds of documentary evidence to prove the existence of Christ; there will be eye-witnesses of the presence of the Living Christ, men who will know Him in His etheric body. And from this experience they will realise that this is the same Being who at the beginning of our era fulfilled the Mystery of Golgotha.

– Rudolf Steiner, ‘True Nature of the Second Coming’ (Lecture, January 25th, 1910).

Concerning the Vision of Spirits in the Air

I was due to present a magickal working, but couldn’t think of anything specific, so (on my way out) I grabbed an old grimoire from the shelf with a vague idea of using it to demonstrate how silly old books can be put to use in personal magickal practice.

The book was A.E. Waite’s Book of Ceremonial Magick, which I’d picked up somewhere years ago for a quid. When the Baptist’s Head was starting out, from this same book we adapted a ritual for communicating with the Archangel Uriel and had been blown away by the results [1]. I hoped that A.E. Waite would turn up trumps again.

In its gloriously obtuse prose, here is the text for the ritual I chose:

Concerning the Vision of Spirits in the Air

For the Masters of Black Magic, as for the author of the Comte de Gabalis, the air is the abode of far other beings than the bird and fly, but the process by which they are rendered visible is complicated through the exceptional nature of the required materials…

It’s now widely recognised that many of the ingredients for ‘spells’ are either symbolic, or were chosen deliberately for being difficult-to-come-by, in order to put casual readers off the scent of the true purpose for the ritual. In an age where it is considered politically correct to make ourselves understood to as wide an audience as possible, this tactic strikes us as bizarre. But reflect for a moment on the trolls that would flock to the comments section of a blog which made magick simple enough for everyone to understand, and suddenly it starts to make sense.

Cardboard box with magick words and things inside.

The ingredients for the spell, ready for burning.

Waite almost gives the game away in the passage above, with his implied inference that if the materials weren’t such a hassle to obtain, then it would actually be easy to see the spirits.

It is, of course, quite possible to secure the brain of a cock, and dissection with that object may perhaps be performed by deputy; the kitchen-maid or the poulterer’s assistant would be easily secured…

Easy for him to say! For me, locked in an urban lifestyle, lacking domestic help, animal offal is not so easy to come by.

The dust from the grave of a dead man is the second ingredient of the process; but a visit to the nearest cemetery will not be sufficient, because it is useless to collect it on the surface; that which is next to the coffin will alone serve the purpose…

Do I need to point out how insane it would be even to attempt this?

In addition to these substances there are only oil of almonds and virgin wax. A compost must be made of the four, and it must be wrapped in a sheet of virgin parchment inscribed previously with the words GOMERT, KAILOETH, and with the character of Khil.

This didn’t sound too hard. ‘Virgin parchment’ means ‘a blank sheet of paper’, and ‘virgin wax’ (correct me if I’m wrong) is no different from ‘wax’, is it? Instead of ‘almond oil’ I decided sunflower would do just as well. Because this is where we hit the nub: how do we suppose magick ‘works’? Do we suppose a chemical reaction renders the spirits visible when a cock’s brain is mixed with corpse dust?

No. Magick doesn’t ‘work’. I learnt magick from the tradition of Chaos Magick, which avers that results arise from shifting one’s belief, thereby altering one’s reality. Over time I’ve come to regard this as too ‘causal’ an explanation. Alan Chapman and I realised at an early stage in our collaboration that chaos magickal rituals still lead to results even when alteration of the magician’s psychological state (‘gnosis’), supposedly another essential component of ritual, is completely left out. These days, I often don’t bother with either gnosis or belief-shifting. I make no effort to ‘believe’ in the ritual I’m performing. I know it’s a pile of ludicrous rubbish. But I do it anyway, and the results are just as striking.

This cannot be an original discovery, because the key feature of magick has always been that its means are causally insufficient to realise its ends. Magick does not and cannot ‘work’. Results are not the effects of the ritual, but arrive as uncaused, meaningful synchronicities. These are indeed complete ‘coincidences’, things that probably would have happened anyway, even if the ritual had not been performed.

However, the ritual was performed, and it’s this formalisation of intention on which the act of magick seems to rest. So, on the night in question, because it would be insane to dig up a corpse, someone instead pretended that he was dead. We sprinkled dust on him and declared this our desired ingredient.

‘I never saw a cock that had a brain,’ someone jokingly remarked, which provided inspiration to push a cashew nut into the tip of a banana, and improvise around its extraction a routine that was a lot more fun than cracking open the skull of a fowl.

The materials being thus prepared, it remains to set them alight, whereupon the operator will behold that which the Grimoire characterises as prodigious, but does not specify except by the indication of the title. This experiment, it adds, should be performed only by those who fear nothing…

Again, the game is almost given away by: (1) the instruction to destroy the ingredients that have taken such effort to assemble; and (2) the refusal to specify an outcome. (Because there won’t be an ‘outcome’ – except smoke.)

Things on fire!

The ingredients burnt with an unexpected ferocity.

Fearlessness is needed because anyone who fears the spirits will be in dread of certain things happening, and inclined to overlook any other stuff that happens instead. Fearlessness is really only the capacity to adopt a wide mental focus. Without that, wasting time on something that does not work really is a waste of time.

It is easy to deride the process, but reflective persons will see that it is the quintessence and summary of the whole art. This is Black Magic – and most of the white kind – in the proverbial nutshell – a combination in equal proportions of the disgusting and the imbecile. There are many more elaborate experiments, but few of such a representative kind. It is not necessary to add that it has been exceedingly popular and is to be found in most of the Grimoires.

Offensive, stupid, ridiculous, funny, arbitrary and tedious: these registers feature in ritual not purely because of their psychological repercussions, but because they are symptomatic of performing actions least likely to have a causative impact.

To be honest, I hadn’t really planned what to do with the ingredients after the demonstration. Some arrangements were made, but I was unwell and unable to follow them through. Experience has taught me there are often negative effects from leaving magickal intentions hanging, so a few days later I took the ingredients into the woods and finished the ritual alone.

Rusted ironwork with a pattern like a face.

Earth spirits. Parts of a rusted bedstead that look like faces.

For the first time in a while, my tiny mind was blown by the results. On my route that morning, I found three playing cards in the street which amounted to a divination of intense personal relevance. And later, having discovered a secluded spot, the ingredients burnt with a ferocity I had not expected (but which was presumably a consequence of the oil and wax).

The original author of the spell perhaps avoided describing his or her results in order to avoid sounding lame. The spirits I encountered in the wood that morning were in the sensation of warm sunlight, the sensuous motion of intertwining branches, and a shoal of white clouds, whale-like in their indifference, which pursued a slow vector across the blue sky out to sea.

After a while, some earth-spirits also appeared. The atmosphere reminded me of Marvell’s poem, ‘The Garden’ (c.1650), with its mysterious sense of nature pushing and insinuating into human consciousness.

Old sock covered in moss on woodland earth.

Another earth spirit, in the form of an old sock covered in moss.

These were the immediate results on the etheric level of experience, the level of emotions, feelings and forms. Later on, an astral result arrived – an experience at the level of symbolism and meaning. (I’m still coming to terms with it. Oh dear — I think it might involve extraterrestrials…)

A.E. Waite had delivered the goods, yet again. So is it true that this ‘spell’ works? Does it actually cause something to happen?

No, of course not. Don’t be silly.

That’s why it’s so good.

Audio

I used the paulstretch audio utility (on default settings) to create this ‘ambient soundscape’ from a recording I made of the ingredients burning.

Note

[1] See Alan Chapman & Duncan Barford, The Blood of the Saints (Brighton: Heptarchia, 2009), p. 312.

Invocation of My Demon Botherer

In the first chapter of Occult Experiments in the Home (see pp. 8-9), I discuss an odd experience with some dice. I was 14, and during the preceding months I’d been experimenting with a Ouija board and friends. Indeed, we’d begun to dispense with the board and were asking ‘spirits’ to manifest directly. One day, I was idly rolling a pair of dice, when it struck me they might be used as a means of spirit-communication. I asked the dice to move if the next throw were a double six. Nothing happened, but I didn’t give up until I’d repeated the trial many times.

The dice were resting upon the carpet where they’d fallen. I put my question to them once more. And this time, I was amazed to see them jump apart from each other by a couple of centimetres. It was the kind of motion you’d expect if two small magnets had been placed against each other with their like-poles touching.

I scooped them up, shook them in my hand and rolled. The result was double six.

In the book I examine the impact this left on me. It shook me up. It has bothered me for years, and continues to bother me. My reason for engaging with magick is mostly a product of this experience. In my magickal career I have witnessed many improbable things, but I have never yet replicated the experience with those dice. The results of my magick have arrived as synchronicites or (occasionally) seeming psychological anomalies, such as telepathy or precognition. But I have never succeeded (either through sorcery or evocation) at causing material objects to move or behave intelligently. And it’s not through lack of trying, as some of my magickal confrères — whose patience I have tested over the years — would surely testify.

Supposing, of course, that is what happened on that first occasion. Because hallucination, misperception or false memory are far more likely explanations.

It began to dawn on me only recently, however, that although I’ve never replicated the moving dice, neither had I made an explicit effort at reproducing the experience.

Example form with results filled in.

If you need some random numbers in a hurry, I’ve got plenty.

So I printed off a bunch of forms, each with 36 sets of a small box partnered with two slightly larger boxes. The small box was to be marked with a tick or cross to indicate whether — before rolling, and after mentally inviting them to do so, if the next throw were a double six — the dice appeared to move. The two larger boxes were to record the scores. I had a black die and a red die, and decided that the first box would record the black score, and the second the red. Each form was headed with a space for the date and the time at which the 36 trials began, and at its foot was a space for recording any comments or environmental conditions that caught my notice.

At first, I ran sets of 36 trials whenever I found the time, but soon noticed the lengthening gaps between them. This was no good. I would have to make a proper job of it! A couple of weeks ago I stayed up all night, interspersing trials with periods of meditation. The date was 4-5th February, 2013. The timetable for the evening worked out like this:

2125		Light candles. Banishing ritual (LBRP). Meditation.
2220		Trials.
2330		Meditation.
0020		Trials. (Very sleepy.)
0130-0135	Break for stretching and water.
0135		Meditation.
0225		Trials.
0330		Finish. Banish. Bed.

By the end of the session I’d filled in 54 forms of 36 trials each, a total of 1,944 rolls of the dice.

And guess what? The dice didn’t move. Not once.

Before each throw, I mentally invited the dice to move if the next throw were a double six. By chance alone, one throw in 36 will produce a double six (which is the reason why I designed each form to contain 36 trials). 54 filled-in forms should have produced 54 double sixes.

Guess what? They did.

It would’ve been nice if my demon botherer had reappeared, if only to clear up to my own satisfaction that what I remember happening when I was 14 actually did. Certainly, at various points during the evening I sensed ‘a presence’. I found myself a few times glancing over my shoulder in response to feeling stared at. On two or three occasions there were odd knocking or tapping sounds within the room that I couldn’t easily explain. But I wasn’t willing to be bought off easily. No way. Those dice had to move, or nothing doing.

Forms, dice and writing implement.

More cutting-edge parapsychological research.

The only odd occurrence was soon after 2326, when one of the dice landed upright on its corner. Cautiously examining whether it was fixed there by paranormal forces, instead I ascertained it had lodged in a recess in the carpet pile. I scrapped that trial and re-rolled.

It was not the most comfortable evening. I was very tired. Sitting in the same position, repeating the same movements over and over, exacted a physical toll. Most surprising was that despite wanting something to happen, a mind fuzzy with fatigue, intermittent creepy feelings, and (until 0237) the only source of light being flickering candle flames, the dice not once appeared to move. And not once did I even doubt that they hadn’t.

I am happy to have made the experiment, however, because (although it proves nothing) to me it revealed, at least, that hallucinations are more difficult to arrive at than I imagined. I’d supposed that on a few occasions I would have thought the dice had moved. But, candlelight or electric light, tired and spooky or just plain bored — my mind refused to oblige with nary a misperception or illusion. Not once in 1,944 trials.

Which begs the question, whether a waking hallucination is even more rare than a pair of sentient dice.

Let Us Pray

That in which awareness arises, beyond time and space, is totally mind-blowing.

One day, it’ll be recognised by everyone within their awareness.

For now, let’s ensure our immediate material needs are met, but that we don’t become trapped in what our ignorance produces, nor in the effects on us of others’ ignorance.

Let’s not be distracted by whatever is not working towards this, but repeatedly step back from it.

Because that in which awareness arises is what life on earth is really all about, and this amazing, indescribable realisation is always there, supplying the strength to recognise that everything is okay.

Job done!

(My paraphrase of The Lord’s Prayer.)