Magickal Visualization Training - Work Shop -- Part One to Five Copyright 2000 by The Church of the Hermetic Sciences., Inc. http://members.aol.com/CHSOTA/we http://members.aol.com/CHSOTA/welcome.html lcome.html
[email protected] [email protected]
Part One: Introduction The mind, as those who developed the Macintosh computer were aware, thinks in pictures (colored pictures actually). Therefore if we want to imprint our subconscious, and the morphogenetic field we call "the astral", we can do it most effectively with images. Ancient pagan priests (who were often magicians) were well aware of this, and their so-called "idol worship" was an effective form of psycho-mystic mental and emotional programming. The power-hungry monotheistic Biblical and Koranic cults were also aware of this visual power and were intent on suppressing it. The magick of "The Word" has power, but its ultimate secret power lies in the visualization of the formulas in all the scales of emanation (see Bardon's *Key to the True Qubballah* see also Charles Russell's *Barbara Cubed*). Tibetan tantric yoga recognizes these principals and has had a 1000 year head start on us in perfecting them. We can learn much from our Eastern colleagues in this area -- but we should remember that their philosophical perspective differs from ours and therefore their methods are somewhat different. To oversimplify the difference, let us say that we believe everything in the universe has some measure of "reality", whereas they hold that everything, including the universe itself, is illusion. This may seem to be the same elephant felt by different blind men, but it does bring about some practical differences in training. We insist on a whole universe that hangs together in one grand design (Because it is "real"). They can have a different system of correspondences for each entity because nothing needs to match up in a non-existant universe. We start with simple building blocks, whereas they start off with elaborate god forms (e,g, Lord Chenrezi, etc.). At this point the perceptive student will be asking: 'but what is the advantage of making pictures in your imagination? What do they actually do for you, besides help you figure out how to draw or build something? This question brings us to the crux of Western magickal field theory: Plato conceived the "idea" of an "original idea" (i.e. a pre-existing template) for everything that manifests into physical reality. Plotinus gave this abstract concept a moving, generating "Force" (Use the Force, Luke!) with his theory of emanations. One does not have to be a rocket scientist to see how these "energized ideas" provide the practical power behind kabbalistic/magickal formulas. And those formulas (according to Herr Bardon) need to be visualized for their full effect. In magick,as in desk top publishing, "What you see is what you get." So let's do some deep breathing (pranayama), relax, (yoganindra), empty our minds (and especially don't think of a hippopotamus!) and get it on. . .
Part Two: Preparatory Exercises: Before we can start actually visualizing we have to learn to control our minds, and our bodies so that we can maximize the effect. We want to be able to hold these visualizations, in a magickal trance state, and work wit them. This means that we need to master basic yoga and self-hypnosis. For these prerequisites I suggest two classic works: *Fundamentals of Yoga* by Ramutri Mishra (on Raja Yoga) and *Self-Hypnotism, Its Technique and Use in Daily Living* by Leslie M. LeCron. Both have been in print in numerous editions for 30 years and are presently available from Amazon. In yoga training you need to concentrate on pranayama (breathing) and the process of tratakam (yoga of the fixed-gaze). The latter prepares you to achieve the magician's steady, un-blinking stare so necessary for future visualization work. In self-hypnosis training you need to concentrate on establishing the out-loud
dialog between your own conscious voice and your inner subconscious ear, so that you can prepare yourself to "channel". Along this line I suggest you read *Magick and Hypnosis* on our web site (a free download). Now, following Bardon's initial steps in *Initiation Into Hermetics* we must get our undisciplined minds under control. First spend some time observing your thoughts and analysing them, then hold one thought only for a time. You can amplify this exercise by visualizing a pink color, the word "Love", and the humming sound of "Om" all at the same time -- but nothing else. After several days devoted to this, graduate to holding a "no-mind" state, counting the number of thoughts that intrude during a given meditation period. Bardon does not mention it, but the "rushing thoughts" exercise is a good adjunct to this process. This is a jamming of one thought after another as fast and as furiously as you can pile them on -- then at the climax, experience the bliss of "No Mind!" Our "sinking pearl" exercise is also quite good and has the added advantage of accustoming you to moving the center of your consciousness to different locations in your body (very important in later Chakra meditations) (for this see *The Book of Solomon's Magick*). You should be able to sit in an asana for five minutes with an essentially "empty" mind before beginning actual visualization training.
Part Three: Magickal Visualization We will now move on along with Franz Bardon and William G. Gray in mastering the first steps of magickal visualization. Franz Bardon starts us off in visualization with an exercise popularly known as "Kim's Game" (from the Kipling novel *Kim*). It is a visual memory and concentration aid which is good as far as it goes, (especially for detectives, intelligence operatives and military observers for whom it was developed) but William G. Gray (*Magical Ritual Methods*) had a concept much more applicable to the magician. Gray starts us off with four basic objects: a knife, a paint brush, a cup and a disc (black on one side, white on the other). Besides being a simple version of The Grail Hallows and the magician's elemental tools, these objects also are creative agents and manifesting surfaces in their own right. Bardon wants us to work on visually remembering a collection of non-specific common objects as to position, size, color, etc. This is good memory training but misses an important aspect of the creative process: We only perceive as much of an object as we need to in order to identify it. To "create" or "re-create" you need to do more than just snap a mental picture of it. You need to "know" the object in every aspect. For example: we are all familiar with pencils. We use them every day, but how many of us know how many sides a pencil has? Do we know how many bands and crimps there are in the eraser sleeve? Do we know what's printed (embossed actually) along the side of the pencil? In other words, we really don't know squat about pencils! So how can we expect to visualize one? The above conception is so important to this process that it cannot be over emphasized. This is why it is important to read Ramacharaka's little book *Raja Yoga*. His is one of the very few works to deal with this vital aspect of the imaginary creative process.
So, to begin: we select the most simple and utilitarian objects to represent our four magical implements. A small pairing knife (paint the handle yellow if you wish), a small watercolor brush (paint the handle red if you wish), a shot glass (or any small glass tumbler) and your disc; 5" in diameter, white on obverse, black on reverse. Along with these items you will need a small practice stand about 18" high, a black cloth (3' square minimum), a kitchen timer, a small tape measure, a black-out mask (blindfold) and, if you are in a noisy environment, a pair of shooting muffs. In addition it is nice to have a horsehair cushion of the yoga meditation type to sit on. Fifteen minutes a day -preferably in the morning -- should be allocated for this training.
Magickal Visualization -- Part Four: In which we will discuss the actual exercises exercises and how to "create" rather than just remember what we are visualizing. So now we have our preliminary homework done, we have our basic texts, and we have our equipment. Let's get down to work. Fifteen minutes a day. In the morning before the stresses of the day set in, and while the store of psychic energy is highest, is best. Remember to start with a few stretching and limbering up exercises, then take an asana and do a few minutes pranayama. Put your back cloth over your practice stand, lay out your first object: the knife (Air Element, Sword/Air Dagger, Raphael, East). First study your knife carefully. Measure it with your tape. Measure the handle, the blade the width, thickness, etc. Study the logo (if any). Learn everything about this object and write it down in your journal. Make sketches of it, with dimensions; color them. You will know more about this little knife than anyone except the person who originally designed it. Then, put the knife on the table, close your eyes and pick it up. Hold it between your hands by your finger tips and SEE IT between your fingers. Now you folks who think you can't visualize on "front screen" will see that you can. This process brings you on front-screen automatically! Slowly move the knife around to different sides and angles. Place it back on the table. SEE IT there. Now open your eyes. Set your timer for five minutes. Close your eyes again. Pick up your object again and hold it until the picture is strong, then replace it on the table and SEE IT there. Hold this visualization for 5 minutes. Every time it starts to fade or go wonky, pick up the knife again (with eyes closed) and reinforce the picture with tactile reference. You have successfully completed this exercise when you can go a full 5 minutes on the stationary object (not the combination of techniques). Using this method it is much easier to accomplish than Bardon's "just do it" approach. Magick "ain't easy," so take advantage of every technique that will help you along the way.
Magickal Visualization -- Part Five: The Remainder of the Basic Lessons. Now that we have the eyes-closed, eyes -closed, front-screen front -screen (behind the closed eyelids) part of this mastered to the extent that we can hold each of our practice objects clearly in view for several minutes, let's start moving them around, rotating them, and changing their size. Remember that small objects at close range are seen in isometric proportions. Perspective is not a problem until we begin to create environments. In the area of clairauidence (imagining sounds, voices, etc.) the best method is "sound memory". Get a bell (a Tibetan bell made out of electrum magicum is expensive but best) and watch yourself ringing it; then close your eyes and imagine yourself ringing it, hearing the imaginary "sound". Get a set of tuning forks. You will find these valuable in later psychic center (chakra) meditation. (Yes, (Yes, there is a Westernized/Kabbalized chakra system: see TBOSM). In *Magical Ritual Methods* Bill Gray provided one of the cleverest ways to visualize letters in Hebrew (we prefer the older, more Magical Phoenician alphabet). Fill your "cup" with brightly colored paint, in the color allocated for the letter, dip your paint brush (the Fire Wand) into your little chalice, and then describe the letter on your "disc" - either on the black or white side. This combines the dynamic movement of your astral/magical tools with the creative visualization of the magickal alphabet. As you can instantly realize, this is a technique of considerable value, and very easy to learn and do. After mastering objects and astral sigil creation, we should work on God forms, Angelic Icons (the Tibetans call theseanthropomorphic/symbolic figures "tankas"). In O.T.A. we start with the four Archangels of the Quarters: Raphael, Michael, Gabriel and Auriel. Yes, the first two are "male" and second pair "female".
(These are ar e shown in our video video and also in a color plate in TBOSM). If you want to see our Geburah (War) Goddess -Form of Anath, she is pictured on our new Tarot card "Conquest" accessing Da'ath. (See The Red Seventh Ray). Make these forms so real and so plastic that they are ready to come alive. So how do we learn to do all this with eyes open? Much easier than you thought. First, you will be doing this in a subdued light on a prepared surface. One magickal school used a blue velvet drape for this purpose -- but some years ago I discovered the trick to making the transition from eyes closed to eyes open a very easy process. You start by simply opening your eyes behind your blind fold. It's hardly any different than your closed-eyes "front-screen"! Once you've gotten this technique to working, then adjust the light as low as necessary and slowly remove the blindfold, extending your focus to the black (velvet or broadcloth) drape. You will quickly discover that there was no great hurdle to overcome. In the next issue of The Seventh Ray (The Green Ray) we will be running the expanded, illustrated and more detailed version of this five part article. Watch for it!
Texts for this Work Shop: 1. 2. 3. 4. 5. 6. 7.
Bardon - Initiation into Hermetics Gray - Magical Ritual Methods Mishra - Fundamentals of Yoga Ramacharaka - Raja Yoga Le Cron - Self Hypnotism; its Technique & Use in Daily Living Runyon - The Book of Solomon's Magick Runyon - Magick and Hypnosis
****This course is proprietary to C.H.S., Inc. and copyrighted 2000 by The Church. It is published here in abridged form for private use by individual practitioners on alt.magick. It may be shared with others individually, but it may not published published or distributed in any commercial format. Its original authorship should be cited and credited in any re-post or e-mail. Questions regarding this should be addressed to:
[email protected]
Good Magick! Gnome d Plume http://members.aol.com/CHSOTA/we http://members.aol.com/CHSOTA/welcome,html lcome,html
