Laughter in the Void – Chaos Magic for Personal Defence

March 12, 2018 § Leave a comment

In the introduction to Psychonaut, his seminal collection of essays on the practice of chaos magic, Peter Carroll wrote these words:

Whenever history becomes unstable and destinies hang in the balance, then magicians and messiahs appear everywhere. Our own civilisation has moved into an epoch of permanent crisis and upheaval, and we are best by a plague of wizards.

PsychonautThis statement seems apt in today’s socio-political climate but, given that it was written slightly over thirty years ago, the sentiments are actually distressingly prescient.

This short essay will be less a review of Carroll’s twin introductory works of Psychonaut and Liber Null, you can read the book for that, and more of an attempt to explain why there has been no better time to understand the workings of chaos magic by showing how chaos magic, in theory if not in spirit, is already being used against every one of us every second of every day by our world’s power systems.

The First Truth of Chaos – Everything is in flux, flux is in everything.

In Carroll’s work, chaos magic is less about actively transforming the external universe by force but transforming oneself and, through that transformation, achieving a metamorphosis – a sleight of mind – that allows the chaos magician to flow with the currents of reality, accepting them all as useful. The chaos magician should be able to eradicate old habits and adopt new ones freely, without the inertia or distress this often brings, to adapt to any situation that faces them.

Liberating behaviour is that which increases one’s possibilities for future action. Limiting behaviour is that which tends to narrow one’s options.

Lamplighter Lighting Gas Street LightModern power systems, perhaps through a process of sheer animal cunning, exercise this chaotic process on a daily basis. Few of us are surprised by a political u-turn or explanation of how an apparently sincere policy decision was ‘misspoken’, yet if a friend or family member suddenly denied previous actions or statements, ones that can be evidenced to have happened, we begin to doubt their sanity. Where the chaos magician uses this fluidity to slip through the corridors of reality, power systems use it to disorientate and confuse those they wish to dominate. The concepts of ‘gaslighting’ and ‘fake news’, confusing the victim by making them doubt the solidity of their assumptions, are prime examples of chaos magic theory being used as a tool of suppression.

A politician, or any other individual for whom power is the ultimate goal, will always look to increase their possibilities for future action. Even the language of politics – of it being a game, constructed of manoeuvres – makes this explicit; a game where no possibility remains is no longer a game.

The Second Truth of Chaos – The sigil is the eye of power.

To formulate a desire makes it vulnerable to external forces and, perhaps most importantly, the inner enemies lurking in the magician’s own mind. Taking the articulation of that desire and rendering it down to its most meagre parts, either by deconstructing it in its written form or creating an abstracted image from a picture of its outcome, creates a ghost of desire that can drift through the nets of doubt, of fear, of fatigue. The desire becomes insidious, pervasive. By this method the chaos magician performs a near-Buddhist form of ‘unwanting’; the desire is poured into the sigil, empowering it as an avatar and releasing it from the frailties of the magician.

Sigils work because they stimulate the will to work subconsciously, bypassing the mind.

Again, though, the flip side of this technique exists as a cage around us. The Newspeak cant of business language, and the euphemistic military terminology it is derived from, are a combination of chaotic sleight-of-mind and sigilisation. Apparently positive words (surgical, precise, enhanced) are used to described negative events, blithely waving away any contradiction. Equally, corporate logos are distilled and abstracted through a form of sigilisation to imply dynamism, progression, strength, power. The Nike swoosh tells us nothing about what Nike do as a company, yet we would all recognise it and its sense of athletic agility. The McDonald’s logo is no longer simply an M, it is a pair of golden arches leading to somewhere better. Meaning is obfuscated and ultimately forgotten, replaced with a vague, bland hint at what is actually meant.

Hourglass

Animation showing the abstraction, or sigilisation, of an hourglass into a logo form

High-end advertising is the synthesis of this corruption of language and imagery. Few perfume adverts, for example, talk about the essence of what they are selling, the smell of a liquid. They remove meaning from their message so it becomes abstracted, too vague to catch hold of. Sigils become blended and self-referential; Perfume X is desirable because it is worn by Celebrity Y, Celebrity Y is desirable because they wear Perfume X.

The Third Truth of Chaos – Every word of it is a lie.

Chaos magic is not magic. It invokes no external powers, calls to no spirit nor demon. It needs no incense or flaming oils beyond those that theatricality demands. Even the eight-pointed star, hyper-sigil of chaos itself, is merely a logo created by the writer Michael Moorcock sometime in the 1960s.

glossarychaosstars

Chaos magic is simply the will of the magician imposed upon themselves and, in that, it is the most democratic of magics. The chaos magician is not the haughty king but the smirking jester, not part of an elite born to power but one who has found power within themselves by becoming aware of how little what is often thought of as ‘power’ truly matters. Those who cling to political or economic power for its own sake will find themselves lost, chasing their own tails for ever-decreasing rewards, whilst the true chaos magician, standing silently to one side, looks on with a wry smile.

In trying to develop the will, the most fatal pitfall is to confuse will with chauvinism of the ego. Will is not will-power, virility, obstinacy, or hardness. Will is unity of desire.

This gives us a defence against the psychic war being waged by the complex of power systems around us, using corrupted forms of chaos magic; laugh at them, show them up for how absurd they truly are. Laugh at the pomposity of petty egos, laugh at the manufactured needs that capitalism blinds us with, laugh at your own insignificance in a void that rings with laughter.

And then you will be free.

Laughter is the only tenable attitude in a universe which is a joke played upon itself. The trick is to see the joke played out even in the neutral and ghastly events which surround one. Seek the emotion of laughter at what delights and amuses, seek it in whatever is neutral or meaningless, seek it even in what is horrific or revolting.

Laughing_Fool

Laughing Jester, possibly by Jacob Cornelisz van Oostsanen

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In the graveyard, only silence

March 1, 2018 § Leave a comment

In the graveyard, only silence
And the shadows of the stones
But beneath the frozen soil
Muttered voices, restless bones.

Graveyard

“We Who Haunt The Dead” – The Mourners of Philip The Bold, Duke of Burgundy

January 29, 2018 § Leave a comment

At the end of the late Middle Ages it wasn’t unusual to see a procession of mourners heading towards the funerals of the great and the good, even lingering about their tombs to offer up prayers to ease the souls of the dead. What is unusual about the mourners at the tombs of Philip the Bold and his son John The Fearless, both Dukes of Burgundy between 1363 and 1419, is that they are still there.
The Mourners

In 1381, with the foresight and eye for posterity common to all medieval nobility, Philip the Bold (Phillipe le Hardi en Francais) assigned his master-sculptor, Jean Marville, to “make [him] an alabaster sepulchre”. Work began on the tomb in 1384, at the Chartreuse de Champmol just outside Dijon in France, and it would still be ongoing at the time of Philip’s death, in 1404. Yet what a tomb it would be.

The iconography of a recumbent effigy with a procession of mourners is not new […], but rather reprises a tradition in use since the mid-thirtieth century, numerous examples of which can be found in the monuments to the French kings in the basilica of Saint-Denis. The innovation here is at the base, the space accorded to the mourner, who are not isolated and in semi-relief in their arcades, but instead seem to slip in and out of the cloister arcades. Each one expresses grief through facial expression, a gesture toward a neighbour, or the eloquence of the draperies.

The Mourners

These mourners (les pleurants en Francais), forty for the tomb of Philip and a further forty for the eventual tomb of John, are exquisite in their melancholy. The figures range in rank from the commanding pomp of the procession-leading bishop to the simple robes of Carthusian monks, a notably austere order, but their alabaster forms, a mere 16” tall at most, almost glow with universal piety; as Sophie Jugie, Director of the Musee des Beaux-Arts in Dijon, says, they are “at once grief-stricken and serene”. They are almost alive in their intensity of emotion, yet they can never be. It is this liminal nature, this lingering on the edge of life and death, that adds a strange uncanniness to the figures that lingers in the living mind. There is something else in our world that endures in a permanent state of grief, something that maintains a disengagement from the world as much as it cannot yet quite bring itself to leave; something we have come to call ‘ghosts’.

When we think of ghosts we often think, perhaps even without realising it, of the accoutrements of mourning; cowled figures, muffled sobbing, inconsolable sadness, even the damp chill of the grave-side. Ghosts walk the same corridors, linger in the same places, trapped in a perpetual looping fragment of time. Yet this is not the experience of the dead. The dead go naked and silently, they have no sensation of the world whether it be emotional or physical. The dead have reached the end of their journey, and move on to wherever they are headed next.

The Mourners

What we are summoning when we think of ghosts are our own experiences, either direct or indirect, of mourning the deaths of others. We are thinking of how others will mourn ourselves.

“The main work of haunting is done by the living”

Judith Richardson, Possessions

mourners1 (1)This conflict between the serenity of the once-living and the fears of the still-living is contrasted most strongly in the tomb of Philip’s son, John The Fearless (Jean sans Peur en Francais). John lies in effigy alongside his wife, Margaret of Bavaria, atop a tomb designed in a similar style to that of his father. Unlike the monochromatic figures of the mourners, they are rendered in a naturalistic style, as if merely sleeping, and gaze up to Heaven with a placid reverence. They have left a world which, like our own, was bound about by chains of duty and care. In contrast, the mourners that process beneath them, lower in both social status and their physical connection to the earthly world, are contorted by grief; they wring their hands, labour with bent backs. They pursue the departing dead in an endless circle, a procession without start or end, like the souls who “sweep shadow-like around” Odysseus as he descends into Hades or the unbaptised dead who mourn their loss of Heaven in Dante’s Limbo.

Of the first circle that surrounds the abyss.
Here, as mine ear could note, no plaint was heard
Except of sighs, that made the eternal air
Tremble, not caused by tortures, but from grief
Felt by those multitudes, many and vast,
Of men, women, and infants.

Dante Alighieri, Inferno – Canto V

This is the two-fold moral told by the tombs of Champmol, a message that comes from the intensely religious life of the middle ages but which reflects a strangely positive view of death. Firstly, that the end of a life well-lived is not a time of misery for the dying but of closure and of reflection where the ending of a thing validates its beginning. Secondly, fall too deeply into earthly cares, into the cleaving-to of materialism and mourning and wallowing in grief, and you will become as unto a ghost yourself, drained of colour and hope.

It is not the dead that haunt us, but we who haunt the dead.

Trembling With Fear, “The Ebbing Tide Calls”

January 23, 2018 § Leave a comment

Another drabble, a story of exactly 100 words, in The Horror Tree’s Trembling With Fear blog, which makes it three for three submissions now. These are forming themselves into something of a related narrative so I’m looking forward to see where they take me…

He watches as the accusatory finger of the lighthouse sweeps across the harbour, in through the bottleglass window and onto the long, blank wall. Each pulse shines a zoetrope puppet-show onto the whitewashed brick.

Click here to read the full piece.

Dead Reckonings #22

January 23, 2018 § Leave a comment

I’m very pleased to once again be published in Dead Reckonings, this time the Fall 2017 issue, number 22.

Dead Reckonings #22

I talk about the nature of mystery and horror in some of the works of Sidney H Sime, an English artists most famous for his illustrations of Lord Dunsany’s fantastical work, and also cover Jeffrey Thomas‘s excellent collection of weird and eerie fiction, ‘Haunted Worlds

Death, exile and madness are all ultimate states of non-being that give the shape to our being. They are the black sea that define our islands of light and life. We experience them only at the very extremes of our lives, as we move from the obvious to the occulted, and it is impossible for us to truly imagine what that moment of transition will be like; before the transition we are as we have always been, afterwards we are fundamentally different.

Dead Reckonings is available directly from Hippocampus Press.

Old Style Tales, The Yellow Booke V

September 10, 2017 § Leave a comment

My homage to windswept vilages and ghostly pursuers, The Bridge At Barrowdale, has been published in Old Style Tale’s collection The Yellow Booke V. The collection can be ordered as a hard copy or downloaded as a PDF, and features illustrated stories from Ever Dundas, Thomas Olivieri and M. Grant Kellermeyer amongst others.

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I SPENT A UNSETTLED EVENING, sitting in a wooden chair by the drawing room’s single window and staring out at the phosphorescent sea. The quiet of the cottage, so inviting in the clamour of the City, now seemed haunted by a spectral silence. I lit a small lantern as night fell but the flickering flame jittered queasily against the warped glass of the window and eventually I pinched it out rather than suffer its fevered dancing. No moon rose into the sky but a bright scatter of stars shone their sparse light down to sparkle on the breaking waves. The eerie bark of a family of seals called from somewhere offshore, rising over the susurration of water on stone. Eventually I slept, fitfully, wrapped in coarse blankets and dreaming of sea-cold fingers reaching out of the night.

Richard Lainhart, White Night

September 10, 2017 § Leave a comment

Think back, way back, to a snow-filled evening in 1974. Earlier in the year, ABBA won the Eurovision contest and, although Kraftwerk had released the monumental Autobahn, it was still music like Dolly Parton and the nascent Kiss that held centre stage. A young, idealist label by the name of Virgin Records were about to unleash Tangerine Dream’s ambient classic Phaedre onto an unsuspecting (and vaguely stoned) public but not even the likes of Brian Eno had come to fully understand the power and appeal of entirely electronic music.

So, what happened on this snowy evening? Richard Lainhart turned on his equipment and, arguably, recorded one of the first pieces of electronic, drone-based ambient music.

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