Creative Visualization for Magical Results

WEBVTT
00:00:00.254 --> 00:00:03.238
This is the Hermetic Hour. I'm your host, Pope Runyon.
00:00:03.807 --> 00:00:10.840
Tonight, we're discussing creative visualization, which is one of the essential techniques of magic.
00:00:11.621 --> 00:00:19.567
And we'll start with the theory of platonic preform images, and that is in contrast
00:00:19.567 --> 00:00:24.815
to and working together with the Kabbalah's magic of the word,
00:00:25.773 --> 00:00:26.848
and the number.
00:00:27.577 --> 00:00:34.932
And we'll move on to explain the highly developed Tibetan tantric imagery and its effects.
00:00:35.536 --> 00:00:41.132
We'll give examples of successful creative visualization, ours and others.
00:00:42.287 --> 00:00:50.297
We will discuss how people visualize and how they can train themselves to control this process.
00:00:51.849 --> 00:00:56.263
The use of magical color will be explained, and we will mention works by Franz
00:00:56.263 --> 00:00:59.358
Barton, William G. Gray, Othiel, and others.
00:00:59.966 --> 00:01:04.581
And we'll discuss our particular methods and their applications.
00:01:05.185 --> 00:01:08.285
So, as we said, tune in and get the picture.
00:01:09.417 --> 00:01:16.503
Now, I want to remind you that the call-in number, if you want to call in and,
00:01:17.929 --> 00:01:20.483
discuss tonight's topic or,
00:01:21.983 --> 00:01:26.111
any topic that we've discussed that you want to ask a question about,
00:01:26.622 --> 00:01:34.163
our call-in number is area code 347-857-1830.
00:01:35.891 --> 00:01:39.373
Now, we have a lot to cover tonight, so, you know, please call in,
00:01:39.373 --> 00:01:42.630
but keep your question brief and on topic, and we'll try to answer it.
00:01:43.623 --> 00:01:50.873
Now, let's get into this very fascinating subject, and I think this one's a
00:01:50.873 --> 00:01:56.939
lot of fun, and one that we can all benefit, whether you're a magician or not.
00:01:57.467 --> 00:02:04.963
This is a technique that just has all kinds of wonderful, wonderful effects
00:02:05.363 --> 00:02:06.848
and results attached to it.
00:02:07.527 --> 00:02:13.563
This really is a Mormon magic all in itself. And it's one that is pretty easy
00:02:13.563 --> 00:02:18.033
to do and really very, very effective.
00:02:19.797 --> 00:02:23.315
Now, I want to start off with a theory,
00:02:24.455 --> 00:02:32.285
of why it works, a philosophical theory of why this works, and why we can visualize
00:02:32.285 --> 00:02:34.920
things and actually bring them about.
00:02:36.135 --> 00:02:40.355
We can bring material things, and we can bring people to us.
00:02:40.355 --> 00:02:42.160
We can bring material things to us.
00:02:44.275 --> 00:02:47.915
We can influence the development of events.
00:02:48.870 --> 00:02:56.490
We can do wonderful things with this, but the reason for that is the theory behind it, of course.
00:02:57.308 --> 00:03:01.064
And for that, we should go back, really, to Plato.
00:03:01.775 --> 00:03:08.213
Now, Plato, as it's been recently revealed, was actually a closet Pythagorean.
00:03:08.689 --> 00:03:11.359
We found out that that's been pretty well established.
00:03:11.864 --> 00:03:19.855
So he was in the same hermetic line pre-hermetic line as Empedocles and Pythagoras
00:03:20.195 --> 00:03:21.464
and that whole bunch, now anyway,
00:03:22.328 --> 00:03:30.802
Plato is pretty well known for his idea of preforms on what we now call the
00:03:30.802 --> 00:03:36.374
astral plane, the deformative plane, the higher dimension formative plane.
00:03:36.792 --> 00:03:43.804
And what Plato came up with was the idea, or he used the analogy, of the ideal chair.
00:03:44.531 --> 00:03:50.342
And this is just before there can be a chair on the physical plane,
00:03:50.342 --> 00:03:57.722
Before the chair gets sketched out and carved out and has the legs glued on
00:03:57.722 --> 00:03:59.402
or whatever, there has to be,
00:04:00.262 --> 00:04:02.182
somebody has to imagine the chair.
00:04:02.906 --> 00:04:08.902
And this is the ideal chair, is the chair that's imagined, the chair that becomes.
00:04:10.382 --> 00:04:11.927
Sort of the archetypal chair.
00:04:12.543 --> 00:04:17.837
And then it's on the astral. And then if this chair is visualized and imagined,
00:04:18.492 --> 00:04:21.995
in enough detail to where it can be constructed,
00:04:22.661 --> 00:04:27.642
then that preform influences the creation of the chair.
00:04:27.642 --> 00:04:33.962
The chair, the idea here is, is that if once the chair is imagined and it's
00:04:33.962 --> 00:04:38.917
imagined in enough detail and it's imagined in enough, in enough intensity,
00:04:39.520 --> 00:04:42.301
a chair is going to come about. Somebody is going to build the chair.
00:04:42.818 --> 00:04:51.242
And this theory, this ideal form theory, is what is behind the whole process
00:04:51.242 --> 00:04:52.896
of creative visualization.
00:04:53.674 --> 00:04:58.852
So, my esteemed colleague, Lon Duquette.
00:05:00.254 --> 00:05:05.828
In his Chicken Kabbalah of Rabbi Lamed Ben Clifford, which I heartily recommend,
00:05:06.223 --> 00:05:10.708
he takes the Platonic chair idea, and he brings it all the way down from the
00:05:10.708 --> 00:05:12.951
top of the tree of light, way up there, and you know, he has,
00:05:13.427 --> 00:05:15.999
God way up in Kether, God says,
00:05:17.068 --> 00:05:19.215
in Asaluth, God says, rest.
00:05:19.813 --> 00:05:24.918
And then the angel the archangels in korea they one level down they say god
00:05:24.918 --> 00:05:27.728
wants a chair and then all the
00:05:27.728 --> 00:05:32.409
draftsmen and the workers down and get zero down in the astral they say,
00:05:32.874 --> 00:05:36.904
hi the boss the boss says that he wants a chair put it on the drawing board,
00:05:37.351 --> 00:05:42.178
so they all go to work designing this chair and then down in malkuth down in
00:05:42.178 --> 00:05:44.229
this in in the Shia, where we are,
00:05:44.863 --> 00:05:48.828
that the chairs are on the showroom, you know, or they're in the factory,
00:05:48.828 --> 00:05:51.928
and they're coming out, and they're on the showroom, so this is the,
00:05:52.428 --> 00:05:55.933
using Plato's ideal chair, this is what Lon came up with, now,
00:05:56.788 --> 00:06:01.638
this also works with sex magic, too, because you're, the whole idea of sex magic,
00:06:01.638 --> 00:06:04.760
I think, as we've discussed before, is you create a magical child,
00:06:05.219 --> 00:06:09.868
a magical offspring, that precedes, you know,
00:06:10.408 --> 00:06:15.151
or takes the place of the actual offspring and the sex act is used.
00:06:17.328 --> 00:06:22.028
To establish that and that's very powerful and again you should use creative
00:06:22.028 --> 00:06:27.703
visualization along with that to implement that technique also. Now,
00:06:28.595 --> 00:06:34.648
When you say to compare this, to compare this and relate this to that other
00:06:34.648 --> 00:06:40.268
kind of, that other conduit of magic, the magic of the word,
00:06:41.232 --> 00:06:53.251
the magic of the mantra, the magic of the Kambalistic formula, that spoken word.
00:06:53.355 --> 00:07:04.108
Now, that is very effective also, and it really, really hits the subconscious
00:07:04.108 --> 00:07:06.768
mind, and it is very effective.
00:07:07.285 --> 00:07:14.030
And, of course, ideally, the magician combines visualization and the magic of the word.
00:07:14.477 --> 00:07:20.998
He combines the two together, ideally. Now, going back at looking at history
00:07:20.998 --> 00:07:26.468
a little bit, let's compare pagan magic of the Egyptians,
00:07:28.488 --> 00:07:32.566
and the Babylonians, and compare that to.
00:07:34.968 --> 00:07:39.517
The Jewish magic and Islamic magic.
00:07:40.908 --> 00:07:50.248
They both the old Jewish rabbis and the Islamic imams they,
00:07:51.868 --> 00:07:59.242
tried to suppress imagery they tried to suppress the use of imagery because
00:07:59.538 --> 00:08:00.888
they felt that this would,
00:08:01.988 --> 00:08:08.588
empower people to go and do magic on their own and whatever and so they came
00:08:08.588 --> 00:08:11.985
up with this idea of no, no graven image, you know, and all this.
00:08:12.848 --> 00:08:17.538
And even when so far, you shouldn't do pictures of people. You shouldn't imagine
00:08:17.538 --> 00:08:19.961
pictures of gods. You shouldn't.
00:08:20.245 --> 00:08:22.294
Everything should be the word.
00:08:24.189 --> 00:08:29.989
Now, this sort of thing, still, the magic was effective, the magic of the word,
00:08:29.989 --> 00:08:35.879
obviously, because, as we know, the Kabbalah and the Greek Kabbalah, of course, came first.
00:08:35.879 --> 00:08:43.260
But, I mean, the Hebrew Kabbalah and the Greek Kabbalah, your letter is also a number.
00:08:43.475 --> 00:08:46.219
So you have mathematical formulas that also relate to letters,
00:08:46.219 --> 00:08:48.531
and this does affect the deep mind.
00:08:49.065 --> 00:08:53.739
Now, one of the books we're going to recommend with a qualification on creative
00:08:53.739 --> 00:08:58.719
visualization is the one by OPL, The Art and Practice of Getting Material Things
00:08:58.719 --> 00:09:00.089
Through Creative Visualization.
00:09:00.089 --> 00:09:07.533
This is a really good little book, and I recommend it with one qualification. He.
00:09:08.944 --> 00:09:11.884
He does not think that the word,
00:09:11.884 --> 00:09:15.928
he says in there that the word does not affect the subconscious mind.
00:09:16.334 --> 00:09:22.122
I don't know why, why with all of the, that was a mistake on his part because he knew better.
00:09:22.528 --> 00:09:27.398
But for some reason or other, he said that. Don't be tripped up by that at all.
00:09:28.284 --> 00:09:37.274
The word, the sound, and by the way, in the Islamic version of the Kabbalah,
00:09:37.274 --> 00:09:41.999
which is popularly called abjad, but that's not what they really call it.
00:09:42.197 --> 00:09:49.564
But they are more concerned with the phonetic part, the syllable part of the
00:09:49.564 --> 00:09:53.721
word, than they are with the numeric, the alphanumeric combination.
00:09:54.087 --> 00:09:59.902
But regardless of that, the word is, in both Arabic and in Hebrew.
00:10:00.864 --> 00:10:02.355
Is tremendously powerful.
00:10:02.662 --> 00:10:08.924
And those formulas, in modern hermetic magic anyway, they're combined.
00:10:08.924 --> 00:10:12.956
Now, hermetic magic, we use visualization very, very strongly.
00:10:13.519 --> 00:10:17.964
And in the Kabbalah, they're a little bit reticent on it still.
00:10:18.324 --> 00:10:24.380
In the Hebrew Kabbalah, they're a little bit reticent. So they're losing part of their power there.
00:10:24.827 --> 00:10:34.210
Although, once you plug visualization into the Kabbalah, it does increase the power and the effect.
00:10:34.744 --> 00:10:40.589
Now, the idea of visualization, as I said, is you visualize a picture of something.
00:10:41.303 --> 00:10:48.117
That you want to bring into the physical realm, something that you want to have
00:10:48.117 --> 00:10:53.894
an effect in the physical realm, something that you want to use to influence the physical realm.
00:10:54.416 --> 00:11:01.377
And this visualization can be combined with the word in mantras.
00:11:01.377 --> 00:11:04.787
It can be combined with the word by taking the letters. This is why we like
00:11:04.787 --> 00:11:13.347
Phoenician, by the way, in lieu of Hebrew, because it's so much easier to visualize Venetian letters.
00:11:13.727 --> 00:11:18.807
They're very monolithic. They're very runic. And you can imagine these Venetian
00:11:18.807 --> 00:11:22.454
letters in color, and in the colors of the various spheres and everything.
00:11:22.791 --> 00:11:27.656
And, well, you know, Martin wrote a book called The Key to the True Kabbalah,
00:11:27.991 --> 00:11:34.084
which even though his Kabbalah is all kind of in a German alphabet,
00:11:34.432 --> 00:11:37.073
he derives it, I think, from the Sephirazil.
00:11:37.427 --> 00:11:42.957
And you can translate Martin's ideas on how to visualize these letters and how
00:11:42.957 --> 00:11:43.964
to pronounce these letters.
00:11:44.312 --> 00:11:48.177
Martin says the pronunciation of the holy name is actually visualizing it in
00:11:48.177 --> 00:11:51.143
all the four tabulistic dimensions at the same time.
00:11:52.367 --> 00:11:57.765
But this depends upon, as a hermetic tabulist would certainly agree,
00:11:57.950 --> 00:12:01.544
this depends upon creating visualization. Now.
00:12:04.107 --> 00:12:09.624
Let's talk about how this works in the Far East and in Tibetan work.
00:12:10.460 --> 00:12:15.085
The Tibetan Tantrics, and I have had some experience with that,
00:12:15.538 --> 00:12:23.117
and so I did point out with them that visualization with them is all important.
00:12:24.206 --> 00:12:30.023
This is, and what they do, and we have learned a lot from them, I'll tell you,
00:12:30.540 --> 00:12:39.793
what they do is they meticulously, meticulously create these various god forms and goddess forms.
00:12:40.420 --> 00:12:43.850
And, of course, they're Buddhists, well, most of them are.
00:12:44.198 --> 00:12:49.250
They're Buddhists, and so therefore these goddess and goddess forms,
00:12:49.580 --> 00:12:54.237
which by the way come from the original shamanic Bunpo, and then they got some
00:12:54.237 --> 00:12:56.928
of them they brought up from Hinduism and whatever.
00:12:58.777 --> 00:13:03.417
And a few of them came down from Mongolia and whatever, but essentially they're
00:13:03.417 --> 00:13:09.225
Buddhists, and so as far as they're concerned, all this is essentially illusion that you're creating,
00:13:10.777 --> 00:13:14.144
and their attitude is philosophically that the whole universe,
00:13:15.357 --> 00:13:19.837
is illusion including you yourself and whatever but therefore,
00:13:20.557 --> 00:13:26.827
their theory is that whatever you create in your imagination is just as real
00:13:26.827 --> 00:13:31.679
or can be made just as real as anything in the physical world,
00:13:32.375 --> 00:13:36.954
because if it's all illusion then what you're seeing in the physical world,
00:13:37.330 --> 00:13:38.898
even the chair you're sitting in.
00:13:40.617 --> 00:13:44.597
Is a measure of illusion It's the measure of illusion, so consequently you can
00:13:44.597 --> 00:13:48.017
create another chair hanging in the air, and it's just as real as the one you're
00:13:48.017 --> 00:13:49.767
sitting in, according to that.
00:13:50.426 --> 00:13:54.443
So, as an exercise to prove to you that you can control the whole universe,
00:13:54.761 --> 00:13:59.987
that is illusion, of course, then what they do is they sit for hours and hours,
00:13:59.987 --> 00:14:02.175
and they build up in their minds
00:14:02.593 --> 00:14:07.109
very elaborate, plastic, totally realistic,
00:14:08.170 --> 00:14:12.680
four, five, six, eight-armed deities, some of them pretty ferocious,
00:14:13.068 --> 00:14:15.803
and they bring these to life.
00:14:16.426 --> 00:14:20.130
And then they bring them, they make them so real that they come to life.
00:14:20.269 --> 00:14:23.410
And of course, if they are inclined, they could send them out to do things,
00:14:23.410 --> 00:14:25.494
too, and, you know, and bring things and whatever.
00:14:25.865 --> 00:14:31.380
But then, supposedly, if you're a Buddhist, you're supposed to take this God
00:14:31.380 --> 00:14:34.400
form, and after you've brought it to life, then you're supposed to dissolve
00:14:34.400 --> 00:14:40.196
it and then go into a sort of a Zen type of meditation and say ah,
00:14:41.430 --> 00:14:49.456
I created it and I dissolved it ah, yeah well, you know, the difference is with us here in the West.
00:14:50.950 --> 00:14:59.580
In a hermetic proposition is we believe that everything in the universe including
00:14:59.580 --> 00:15:04.759
what you imagine has a measure of reality.
00:15:05.366 --> 00:15:11.531
That's very important. The one big difference between us and the Tantric Buddhists.
00:15:12.436 --> 00:15:16.151
The one big difference between the Hermetic magicians and the Tantric Buddhists,
00:15:16.453 --> 00:15:23.181
we believe that everything in the whole universe is a measure of reality.
00:15:23.791 --> 00:15:28.973
They believe that everything in the universe is some measure of illusions.
00:15:29.814 --> 00:15:34.101
Now, you may think that this is sort of similar to the same thing,
00:15:34.101 --> 00:15:39.467
but actually there is a difference, and yet we can use their methods.
00:15:40.122 --> 00:15:41.421
We can use their methods. It's
00:15:41.421 --> 00:15:45.731
just that we really, we don't need to dissolve the entities at the end.
00:15:45.731 --> 00:15:52.191
We can just put the entities in our pantheon and use them, and create your own
00:15:52.191 --> 00:15:55.971
God forms, bring your own God forms to life, which is what we do,
00:15:55.971 --> 00:15:58.992
of course, in our psychic center system.
00:15:59.433 --> 00:16:04.776
And the Tibetans have taught us a great deal about how to do this,
00:16:05.252 --> 00:16:08.851
and they've taught us how to do it and how to effectively do it,
00:16:08.851 --> 00:16:13.416
the techniques for doing it, and they are primarily forms of yoga.
00:16:14.085 --> 00:16:19.372
And so from that, and now I'm referring not just to my own work, but.
00:16:22.041 --> 00:16:26.835
Franz Barden is a form of raja and tantric yoga, in a sense.
00:16:27.154 --> 00:16:38.561
And Crowley, he didn't quite get to this. He was very, very much into yoga and getting his students.
00:16:41.761 --> 00:16:48.201
To do various forms of yoga. But he never was that I know of that he managed
00:16:48.201 --> 00:16:52.856
to integrate, completely integrate, the hermetic system and his yoga system.
00:16:53.644 --> 00:16:56.674
And I think he would have gotten around to it if he lived longer. He probably would have.
00:16:57.081 --> 00:17:02.674
And, of course, in Crowley's time, we didn't know as much about how they actually
00:17:03.028 --> 00:17:08.647
did things and all that as we do now. So we will forgive him for that. But he did.
00:17:09.042 --> 00:17:12.183
He did definitely start us off on the path of.
00:17:14.261 --> 00:17:18.665
Putting the yoga in with the magic. Now.
00:17:19.552 --> 00:17:25.407
I want to talk about creative visualization at the most basic,
00:17:25.407 --> 00:17:27.377
even non-magical level for a minute.
00:17:27.377 --> 00:17:33.087
And, you know, kind of tell you some anecdotes about how it works and things
00:17:33.087 --> 00:17:37.380
you can do with it, just to give you an idea of how effective it can be.
00:17:37.925 --> 00:17:44.199
One of the things that people who, even magicians do this, will get an image,
00:17:44.658 --> 00:17:49.952
a photograph, a drawing, or whatever, or create one. If you're an artist, you can create one.
00:17:50.538 --> 00:17:55.989
And make a picture of it, and that becomes your treasure map, so to speak.
00:17:56.436 --> 00:18:02.187
And you put that, you know, where you can see it every day. And you look at
00:18:02.187 --> 00:18:03.274
it, and you say, I'm going to get that.
00:18:04.247 --> 00:18:07.882
Or I'm going to meet a woman like that, or I'm going to meet a guy like that, or something like that.
00:18:08.385 --> 00:18:11.544
And you keep looking at that, and you keep thinking that.
00:18:11.857 --> 00:18:15.987
This way, you don't have to, you know, you don't really have to imagine it yourself.
00:18:15.987 --> 00:18:18.614
You create, and then you can think about it, too.
00:18:18.951 --> 00:18:24.127
You should be able to imagine it in your own mind and on your front screen visualization.
00:18:24.127 --> 00:18:31.007
But you don't even need to do that. You can create this picture or put together
00:18:31.007 --> 00:18:32.527
a collage or whatever you want to do.
00:18:33.487 --> 00:18:37.988
I can treasure that. Now, as an example of this, from my own experience.
00:18:39.607 --> 00:18:44.434
Back some years back when I was working for a corporation over in Glendale,
00:18:44.881 --> 00:18:52.307
I was the art director, and I was very much into sailing at the time and still
00:18:52.307 --> 00:18:53.466
would like to get back on the water.
00:18:53.814 --> 00:18:59.889
But I was really interested. I really wanted a nostalgic, old-fashioned schooner,
00:19:00.567 --> 00:19:02.603
and I couldn't quite afford what I really wanted.
00:19:03.081 --> 00:19:08.120
And what I really was yearning for was a 50, 60-foot,
00:19:08.756 --> 00:19:14.227
ocean-going, gaff-rigged, old-style gaff-rigged schooner, Pacific,
00:19:14.227 --> 00:19:18.350
you know, South Pacific trading schooner, kind of an Errol Flynn kind of boat.
00:19:18.908 --> 00:19:22.891
And this is what I really wanted. And, you know, I was dreaming big.
00:19:23.809 --> 00:19:32.077
So I got a picture of a drawing, actually, a side view drawing of the boat rigged
00:19:32.077 --> 00:19:34.000
exactly the way I wanted it and I liked it.
00:19:34.557 --> 00:19:39.697
And I took this drawing and then I realized that I was going to need to color
00:19:39.697 --> 00:19:41.134
it in. Now, that's an important point.
00:19:41.570 --> 00:19:46.330
You've got to have whatever your treasure map is, your treasure picture is, it's got to be in color.
00:19:46.963 --> 00:19:49.772
It has to be. And I'll give you some examples of why it has to be.
00:19:50.300 --> 00:19:58.067
Anyway, so I colored the hull blue, and I colored the superstructure cream color, and I fixed it.
00:20:00.367 --> 00:20:05.177
In color, and then I put it up on my desk or above my desk. And my boss came
00:20:05.177 --> 00:20:09.392
by, and he looked at that, and he said, what's that? And I said, that's my boat.
00:20:09.914 --> 00:20:13.787
And he said, oh, he said, that's your boat, huh? He said, and I said,
00:20:13.787 --> 00:20:14.812
yeah, I'm going to get that boat.
00:20:15.749 --> 00:20:23.288
And so he just kind of walked away and, you know, at the 50,
00:20:23.288 --> 00:20:27.088
60 foot scoundrel, that's just, that's quite a, that's quite,
00:20:27.088 --> 00:20:28.480
quite something to be wishing for.
00:20:29.158 --> 00:20:34.048
Well, so every, so, so often he'd come by and he'd look at that and he'd say,
00:20:34.048 --> 00:20:36.817
oh, you got your boat yet? And I said, no, no, no, yeah, but I will.
00:20:37.694 --> 00:20:42.510
And then about four I guess about three weeks after that,
00:20:43.261 --> 00:20:47.348
my friend Dave Finnan called me up and said oh there's something in the boat
00:20:47.348 --> 00:20:53.618
trader you ought to look at told me what page so I went out that afternoon after work,
00:20:54.218 --> 00:20:57.298
on the way home and I picked up a copy of the boat trader and I looked on the
00:20:57.298 --> 00:20:59.456
page where David and here was this,
00:21:00.157 --> 00:21:07.022
here was this gaffering schooner 19 feet long on a trailer and a guy was selling it.
00:21:07.887 --> 00:21:11.206
And it was a nice sailor, but I mean, it was, but it was, you know.
00:21:12.177 --> 00:21:17.846
And I, and I, wow, you know, and you can imagine this, a gaff rig,
00:21:17.846 --> 00:21:22.871
a two-masted gaff rig schooner on a trailer, 19 feet long.
00:21:23.465 --> 00:21:28.926
And I got Dave and we went out to Lake Ferris.
00:21:30.436 --> 00:21:35.446
And sure enough there was this British fella and he loved to build boats and
00:21:35.446 --> 00:21:38.763
he built this thing and his wife didn't like it, it was a little too radical,
00:21:39.059 --> 00:21:42.959
so he wanted to so he predicted nothing and it was a brand new boat.
00:21:44.246 --> 00:21:48.999
And it was painted exactly the same color scheme as I had put on my boat,
00:21:49.238 --> 00:21:55.304
it had the same rig exactly, but it was 19 feet long it was on a trailer and i could afford it,
00:21:56.014 --> 00:21:59.445
i reasonably afforded it so i bought it and we took it home,
00:22:00.153 --> 00:22:05.146
and and put it in the in the front yard in pasadena and then of course a couple
00:22:05.146 --> 00:22:07.726
days later my boss came by and he said well you got your boat yes,
00:22:08.206 --> 00:22:11.846
as a matter of fact i have you he said oh come on and i said yeah i said i got
00:22:11.846 --> 00:22:14.846
it and and i said you know i said you want to go over and take a look at it
00:22:14.846 --> 00:22:16.152
so he drove over after work,
00:22:16.726 --> 00:22:21.706
and he took a look at it and his jaw dropped down and he said my god he said
00:22:21.706 --> 00:22:23.803
you did it i said that's right,
00:22:24.440 --> 00:22:31.966
but it did and not only it did i do it but it was in the length and in the size
00:22:31.966 --> 00:22:35.063
and in the configuration that i could afford.
00:22:35.784 --> 00:22:41.093
Not something I couldn't have really, you know, if somebody had made me a good
00:22:41.093 --> 00:22:47.563
offer on a 50, 60 footer, at that point, I would have been in the poorhouse
00:22:47.563 --> 00:22:48.640
trying to just keep it up.
00:22:49.354 --> 00:22:53.873
But this was perfect. And we sailed that boat. We called it the Valkyrie.
00:22:53.873 --> 00:22:55.678
We sailed that boat for six years.
00:22:56.160 --> 00:23:02.227
David and I, we put it in every, put it out in every, in every ramp all the
00:23:02.412 --> 00:23:04.438
way in Southern California.
00:23:05.019 --> 00:23:10.992
And so this shows you, and by the way, that made such a believer out of my boss
00:23:11.300 --> 00:23:13.433
that he became from a total materialist.
00:23:13.433 --> 00:23:18.583
He went and took a version of Silva Mind Control, and then he became a firm
00:23:18.583 --> 00:23:20.513
believer in creative visualization.
00:23:23.199 --> 00:23:26.403
Now, however, I wanted to make sure if you do this sort of thing,
00:23:26.748 --> 00:23:30.019
be sure that you do these pictures in color.
00:23:30.786 --> 00:23:36.063
Because there is a story, I think Jose Silva tells it, a story about the gal
00:23:36.063 --> 00:23:40.813
who wanted to take a vacation in Hawaii. So she had a picture of Diamond Head
00:23:40.813 --> 00:23:45.118
on her desk, and she kept looking at that, dreaming of a vacation in Hawaii.
00:23:46.833 --> 00:23:51.979
And finally, sure enough, she won. She actually won a vacation in Hawaii.
00:23:52.668 --> 00:23:57.813
But unfortunately, it was a two-week vacation, and the whole time she was in
00:23:57.813 --> 00:23:59.285
Hawaii, it rained steadily.
00:23:59.994 --> 00:24:04.749
Now, the picture was in black and white. Picture of diamond head in black and white.
00:24:05.074 --> 00:24:08.272
That's why it rained steadily because the picture was not in color.
00:24:09.321 --> 00:24:14.772
Now, of course, another example, which is pretty kind of sinister,
00:24:15.294 --> 00:24:18.760
is the Nazis knew about this.
00:24:19.132 --> 00:24:24.989
And they made a fake photograph. We used to call them cosmographs in those days
00:24:24.989 --> 00:24:27.724
before Photoshop. We did them with airbrushes.
00:24:28.159 --> 00:24:33.395
They made a fake photograph of the boulevard in Prague.
00:24:34.024 --> 00:24:38.296
And down the main boulevard, they had these stormtroopers marching.
00:24:38.787 --> 00:24:41.855
And they had to piece those in, of course, and then airbrush them in.
00:24:42.180 --> 00:24:46.959
So this whole column of stormtroopers holding the swastig in there marching
00:24:46.959 --> 00:24:48.392
down the main drag in Prague.
00:24:48.705 --> 00:24:53.589
They made a photo mural out of this and they put it up in a war room while they
00:24:53.589 --> 00:24:55.631
were planning their invasion of Prague.
00:24:56.425 --> 00:25:00.044
Well, you know, they were very successful in the invasion of Prague,
00:25:00.886 --> 00:25:04.799
but then one of their top Nazis, Heidrich, was assassinated and,
00:25:04.799 --> 00:25:06.475
of course, they lost the war and all that.
00:25:06.842 --> 00:25:10.249
So it should have been a color. Well, I think that color might be...
00:25:10.589 --> 00:25:17.229
I'm glad it wasn't. Anyway, but this sort of thing actually does work.
00:25:17.229 --> 00:25:23.739
Now, however, let's talk about visualization that you do, not just pictures
00:25:23.739 --> 00:25:26.758
that you put together, although that is effective.
00:25:29.196 --> 00:25:32.870
The visualization that you train yourself to do now,
00:25:33.543 --> 00:25:40.160
it's important that you understand that visualization creative visualization
00:25:40.508 --> 00:25:44.873
to be done correctly has to be done in a certain area,
00:25:45.555 --> 00:25:49.599
it you can't have it floating around well you can but it doesn't work that well
00:25:49.854 --> 00:25:51.688
to have it floating around in the back of your head,
00:25:52.390 --> 00:25:59.129
now i unfortunately some artists Some people, like myself, when I originally,
00:25:59.576 --> 00:26:01.835
I originally, that's where I had it.
00:26:02.895 --> 00:26:07.175
I get nice visualizations, but they'd be floating around back in the middle of my head somewhere.
00:26:08.335 --> 00:26:12.514
I didn't do them on front screen. I didn't do them in front of my closed eyelids.
00:26:13.007 --> 00:26:19.279
I did them back in my head. And being an artist, I'd sort of bring them to life on the paper.
00:26:19.974 --> 00:26:23.215
But they were being created back in the head somewhere. Well,
00:26:23.215 --> 00:26:27.486
now, that doesn't work all that well for creative visualizations.
00:26:28.293 --> 00:26:31.714
And by the way, I discussed this with Fred Adams, and he said,
00:26:31.714 --> 00:26:33.976
and he's a wonderful artist, but he said the same thing.
00:26:34.542 --> 00:26:38.217
He had tremendous imagination, but he was visualizing back in his head somewhere.
00:26:38.988 --> 00:26:44.154
Now, for effective creative visualization, you need to get it on front screen.
00:26:44.154 --> 00:26:49.213
And what I mean by that is, well, Jose Silva says, close your eyes and imagine,
00:26:50.144 --> 00:26:55.524
a widescreen movie screen about six feet away from your closed eyes.
00:26:55.958 --> 00:26:59.164
And it fills your whole closed-eye vision.
00:27:00.306 --> 00:27:04.994
That's where you imagine yours. And that's about ideal. That's really ideal.
00:27:04.994 --> 00:27:07.754
Imagine that about six feet in front of you, and it's a big screen,
00:27:07.754 --> 00:27:11.864
like a big television set, high-definition TV set, and you've got your eyes
00:27:11.864 --> 00:27:14.211
closed. Now, that's the perfect framework.
00:27:14.653 --> 00:27:18.384
Get it around, and you need to get it out of the back of your head and get it
00:27:18.384 --> 00:27:21.201
around and get it on that front screen. Make sure it gets on there.
00:27:21.648 --> 00:27:27.676
Now, Jose Silver also points out another couple of things that are very important.
00:27:28.048 --> 00:27:33.352
If you want to do kind of moving pictures about what you want to have happen,
00:27:34.035 --> 00:27:37.803
then bring it in from the left side.
00:27:38.710 --> 00:27:42.881
Bringing the picture in from the left and off to the right. Now,
00:27:42.881 --> 00:27:48.201
the reason for this is that the left, moving from left to right,
00:27:48.346 --> 00:27:51.568
that's the way the brain works. That's the future is on the left,
00:27:51.934 --> 00:27:53.490
and the past is on the right.
00:27:53.844 --> 00:27:59.736
So be sure that if you're making a sequential, that you do this left to right visualization.
00:28:02.380 --> 00:28:07.351
Now, along the line of magic itself, in pure magic, you know,
00:28:07.351 --> 00:28:11.821
in a magical process, You know, creative visualization, you don't have to be
00:28:11.821 --> 00:28:14.614
a magician to use it. A lot of people are not magicians.
00:28:14.974 --> 00:28:19.839
And by the way, Silver Mind Control is a wonderful program. I strongly recommend it.
00:28:20.781 --> 00:28:24.901
And a lot of creative visualization, you don't have to be a magician.
00:28:25.507 --> 00:28:30.499
This will work for anybody that seriously does it for getting things.
00:28:30.842 --> 00:28:34.856
Remember, though, in magic or in anything else,
00:28:35.781 --> 00:28:41.111
you're going to get, you do this right you're going to get what you want but
00:28:41.111 --> 00:28:44.861
it may not be what you need and it may not even be.
00:28:45.861 --> 00:28:49.501
What you really want either but in my case you know as i,
00:28:50.061 --> 00:28:54.893
i overdid it i i was i was looking for a boat that i couldn't afford,
00:28:55.438 --> 00:28:59.838
and and sure enough i got the same kind of thing in a form that i could afford
00:29:00.198 --> 00:29:06.081
and that was thoroughly enjoyable and and worked out perfectly and and so in
00:29:06.081 --> 00:29:08.063
this case it worked for me but,
00:29:08.649 --> 00:29:15.087
as sophia points out you should be aware of certain limitations don't wish for something,
00:29:15.534 --> 00:29:19.541
that that's going to drive you to the poor house or sail you to the poor house
00:29:19.541 --> 00:29:23.388
or or something like that it works for something that you that's within the
00:29:23.789 --> 00:29:25.896
within the realm of what you can what you can handle,
00:29:26.488 --> 00:29:31.674
and the same thing applies to people by the way you can take um you know you can take um,
00:29:32.523 --> 00:29:36.616
a playboy playmate, I suppose, if you're a guy, and use that.
00:29:36.912 --> 00:29:39.807
I keep looking at that all the time and saying, I'm going to get a girl like
00:29:39.807 --> 00:29:42.897
that, I'm going to get a girl like that. Well, yeah, you may,
00:29:42.897 --> 00:29:49.241
but then on the other hand, you may end up being more miserable than you want to be.
00:29:49.673 --> 00:29:52.866
And, yeah, it might very well work.
00:29:54.589 --> 00:30:01.250
I did a comic strip one time, and I was doing it with one of the guys at work.
00:30:02.117 --> 00:30:06.407
A fellow artist, and we were going to get this comic strip, kind of an R-rated
00:30:06.407 --> 00:30:11.097
thing, called I called it Valkyra it was a,
00:30:11.617 --> 00:30:17.167
the heroine was a seven foot tall Valkyrie with spiked steel breastplates and
00:30:17.167 --> 00:30:21.856
a little wolf skin bikini bottom and you know whatever, with a winged helmet,
00:30:23.017 --> 00:30:28.837
kind of a R-rated Wonder Woman kind of thing and you know, in doing all the
00:30:28.837 --> 00:30:31.301
work I put in on that and it was a lot of fun,
00:30:31.875 --> 00:30:35.057
I ended up with one big blonde after another.
00:30:36.777 --> 00:30:41.587
It was a sort of a, you know, you put enough visualization into that,
00:30:41.842 --> 00:30:43.781
and sure enough, they walk in your front door.
00:30:44.577 --> 00:30:49.697
So you could use this to attract people. You could do all sorts of stuff with it.
00:30:50.256 --> 00:30:56.653
Now, however, to get into the magical end of this, the purely magical end of this,
00:30:57.557 --> 00:31:03.305
What we like to do in magic is we like to be able to train ourselves to where
00:31:03.688 --> 00:31:11.942
we can visualize very clearly and ultimately with eyes open, very clearly,
00:31:12.917 --> 00:31:18.297
and specifically and hold these visualizations, visualizations of angels,
00:31:18.297 --> 00:31:21.177
talismanic images, all these various things.
00:31:21.177 --> 00:31:24.527
We like to be able to throw them out there on the front screen and hold them,
00:31:25.637 --> 00:31:27.459
and make them as real as possible.
00:31:27.923 --> 00:31:31.151
And the more real we can make them, the more effective they are.
00:31:32.398 --> 00:31:36.668
And it's like the Tibetans, you know, their idea is keep making it realer and
00:31:36.668 --> 00:31:39.977
more and more real and more and more real, more and more real, more and more real.
00:31:40.285 --> 00:31:43.228
And when it reaches out and bites you, then you reabsorb it,
00:31:43.228 --> 00:31:45.086
then you start over again with something else.
00:31:45.695 --> 00:31:50.528
Now, that's what they do. But what we want to do is we want to make our guardian
00:31:50.528 --> 00:31:54.076
angels, you know, on the four quarters. We want to make them real.
00:31:54.372 --> 00:32:03.128
We want to make our God forms real. So we want to make these images as plastic,
00:32:03.128 --> 00:32:08.459
as real, and as effective as possible to get these things across.
00:32:08.761 --> 00:32:13.898
So what we do is we actually, and when we're doing this, we're actually bringing
00:32:13.898 --> 00:32:15.320
them into life on the astral.
00:32:16.000 --> 00:32:18.988
Yeah, because remember the preformed theory. You bring it out there,
00:32:18.988 --> 00:32:23.038
you imagine that some essence of it's going to be out there.
00:32:23.038 --> 00:32:25.653
It's going to be, you know, you're bringing them to life.
00:32:26.518 --> 00:32:28.678
And especially if they're traditional forms.
00:32:31.921 --> 00:32:36.966
You're really enlivening them. Because remember, in Hermetic philosophy,
00:32:37.448 --> 00:32:38.766
you're in the center of the universe.
00:32:38.998 --> 00:32:44.371
And when you step into that circle, the center of that circle, you're God.
00:32:45.031 --> 00:32:52.488
Now, what I'd like to do, and being a little formal here, I'd like to read you
00:32:52.488 --> 00:32:58.055
one of our lessons, and I'll go through this, as, let's paraphrase, possible.
00:32:58.282 --> 00:33:04.398
I'd like to read you one of our lessons in this particular practice so that
00:33:04.398 --> 00:33:06.461
we can get the magical perspective across,
00:33:07.682 --> 00:33:10.724
Now, this is called magical visualization training.
00:33:12.987 --> 00:33:18.009
And it pretty much covers how this is done from a magical point of view.
00:33:18.955 --> 00:33:23.267
Now, the mirror and the crystal screen methods that we have taught you thus
00:33:23.267 --> 00:33:30.117
far have made the wonders of magic accessible to you without natural clairvoyance
00:33:30.117 --> 00:33:32.648
or years of rigorous training.
00:33:33.305 --> 00:33:39.247
However, these intermediate methods of invocation and evocation,
00:33:39.347 --> 00:33:45.482
effective as they are, are not the outer limit of the magical art.
00:33:46.064 --> 00:33:51.991
You have crossed the threshold, tasted the forbidden fruit, and seen glimpses of worlds beyond.
00:33:52.386 --> 00:33:55.909
Now, the life's work of the true wizard begins.
00:33:57.090 --> 00:34:02.577
You are going to train your mind to see and hear the angels the spirits and
00:34:02.577 --> 00:34:07.804
the wonders of the higher spheres without depending on.
00:34:09.234 --> 00:34:15.144
On the auric phenomenon of the crystal, or your reflection in the dark mirror.
00:34:15.945 --> 00:34:22.366
You are going to transform your mind into a powerful, magical device that can
00:34:22.366 --> 00:34:27.796
receive visions from the greater universe and project your disciplined will,
00:34:28.416 --> 00:34:33.325
onto the matrix of the thought forms that generate creation itself.
00:34:34.215 --> 00:34:39.204
The mind, as those who developed the Macintosh computer were aware,
00:34:39.458 --> 00:34:42.256
thinks in pictures, colored pictures, actually.
00:34:43.036 --> 00:34:48.684
Therefore, if we want to impart, to imprint our subconscious,
00:34:49.346 --> 00:34:56.493
the morphogenic field we call the astral, we can do it most effectively with images.
00:34:57.124 --> 00:35:02.645
Ancient pagan priests, who were often magicians, were well aware of this.
00:35:03.254 --> 00:35:10.046
And their so-called idol worship was an effective form of psycho-mystic mental
00:35:10.046 --> 00:35:11.544
and emotional programming.
00:35:12.508 --> 00:35:18.326
The power-hungry monotheistic biblical and Quranic cults were also aware of
00:35:18.326 --> 00:35:21.872
this visual power and were intent on suppressing it.
00:35:22.690 --> 00:35:29.806
The magic of the word has power, but its ultimate secret power lies in the visualization
00:35:30.056 --> 00:35:33.265
of the formulas in all the scales of emanation,
00:35:33.706 --> 00:35:38.344
and we refer you in this case to Franz Barton's key to the true caballon.
00:35:39.779 --> 00:35:46.090
Tibetan Tantric yoga recognizes these principles and has had a 1,000-year head
00:35:46.090 --> 00:35:47.825
start on us in perfecting them.
00:35:48.812 --> 00:35:54.460
We can learn much from our Eastern colleagues in this area, but we should remember
00:35:54.460 --> 00:35:57.821
that their philosophical perspective is not the same as ours,
00:35:58.093 --> 00:36:00.978
and therefore their methods are somewhat different.
00:36:01.579 --> 00:36:05.400
To oversimplify the difference, let us say that we believe everything in the
00:36:05.400 --> 00:36:09.710
universe has some measure of reality, whereas they hold that everything,
00:36:09.710 --> 00:36:11.889
including the universe itself, is an illusion.
00:36:12.612 --> 00:36:16.070
Now, this may seem to be the same element felt by different blind men,
00:36:16.070 --> 00:36:20.176
but it does bring about some practical differences in training.
00:36:20.745 --> 00:36:28.116
We insist on a whole universe that hangs together in one grand design because it is real.
00:36:29.119 --> 00:36:34.145
They can have a different system of symbolic correspondences for each entity,
00:36:34.906 --> 00:36:39.046
because nothing needs to match up in a non-existent universe.
00:36:39.611 --> 00:36:43.890
We start with simple building blocks, whereas they start off with elaborate
00:36:43.890 --> 00:36:47.217
God forms, like Lord Chenrezig.
00:36:48.170 --> 00:36:49.430
We had a joke about that.
00:36:50.723 --> 00:36:55.460
Forewarned is forearmed, and forearmed is forewarned. At this point,
00:36:55.460 --> 00:36:57.080
the perceptive student will be
00:36:57.080 --> 00:37:01.907
asking, but what is the advantage of making pictures in your imagination?
00:37:02.493 --> 00:37:10.656
What do they actually do for you besides help you figure out how to draw or build something?
00:37:11.253 --> 00:37:12.657
Now, that's exactly right.
00:37:13.373 --> 00:37:18.360
To design and build something. That's what magical visualization is all about.
00:37:19.731 --> 00:37:24.019
This revelation brings us to the crux of Western magical field theory.
00:37:24.320 --> 00:37:29.005
Plato conceived the idea, the original idea, in fact, a pre-existing template
00:37:29.202 --> 00:37:32.105
for everything that manifests into physical reality.
00:37:32.929 --> 00:37:40.411
Plotinus gave this abstract concept a moving, generating force. Who's the force, Luke?
00:37:41.231 --> 00:37:46.431
With this theory of emanations, one does not have to be a rocket scientist to
00:37:46.431 --> 00:37:52.430
see how these ideas provide the practical power behind tabloistic magical formulas.
00:37:53.123 --> 00:37:59.648
And those formulas, according to Franz Martin, need to be visualized for their full effect in magic.
00:37:59.961 --> 00:38:03.067
As in desktop publishing, what you see is what you get.
00:38:03.800 --> 00:38:08.437
So, let's do some deep breathing, pranayama, relax, yoga dindra,
00:38:08.966 --> 00:38:15.351
calm our minds, and especially don't think of a hippopotamus, and let's get it on.
00:38:17.458 --> 00:38:21.421
Preventory exercises. Now, before we start actually visualizing,
00:38:21.421 --> 00:38:26.606
we have to learn to control our minds and our bodies so that we can maximize the effect.
00:38:26.983 --> 00:38:32.202
We want to be able to hold these visualizations in a magical trance state to work with them.
00:38:32.626 --> 00:38:36.602
This means that we need to master basic yoga and self-hypnosis.
00:38:37.656 --> 00:38:42.401
For these prerequisites, I suggest two classic works, Fundamentals of Yoga by
00:38:42.401 --> 00:38:47.001
Ramutri Mishra, that's Raja Yoga System, and Self-Hypnotism,
00:38:47.001 --> 00:38:51.159
Its Technique and Use in Daily Living by Leslie M. LeCron.
00:38:52.267 --> 00:38:56.470
Both have been in print in numerous editions for 30 years.
00:38:56.929 --> 00:39:01.381
In yoga training, you need to concentrate on pranayama, breathing,
00:39:01.753 --> 00:39:07.639
and the process of Krantakam Yoga, the yoga of the fixed gaze.
00:39:07.958 --> 00:39:12.471
The latter prepares you to achieve the magician's steady, unblinking stare,
00:39:12.471 --> 00:39:15.749
are so necessary for future visualization work.
00:39:16.930 --> 00:39:21.083
In self-hypnosis training, you need to concentrate on establishing the out loud
00:39:21.083 --> 00:39:25.553
dialogue between your conscious voice and your inner subconscious ear.
00:39:25.593 --> 00:39:32.193
Some of that, at this point, you should review the mental training exercises
00:39:32.193 --> 00:39:37.563
that we said more earlier, making certain that you've mastered them before undertaking
00:39:37.563 --> 00:39:39.923
these advanced visualization exercises.
00:39:39.923 --> 00:39:43.444
That means self-hypnosis and basic yoga.
00:39:44.614 --> 00:39:50.012
You should be able to sit in an asana for five minutes with a completely calm mind.
00:39:50.993 --> 00:39:55.993
Before beginning actual visualization training, in our advanced master ritual,
00:39:56.553 --> 00:40:01.513
we require 32 repetitions of the mantra, through me flows a river of unlimited
00:40:01.513 --> 00:40:07.973
love, followed by 22 repetitions of craniyama cycle before visualization begins.
00:40:08.941 --> 00:40:15.933
Franz Martin starts us off in visualization with an exercise popularly known
00:40:15.933 --> 00:40:20.108
as Kim's Game from Kepler's novel, Kim.
00:40:21.603 --> 00:40:28.091
It is a visual memory and concentration aid, which is good as far as it goes,
00:40:28.440 --> 00:40:32.555
especially for detectives, intelligence operatives.
00:40:33.740 --> 00:40:36.822
And military observers for whom it was developed.
00:40:37.520 --> 00:40:43.903
But William G. Gray, in his book Magical Ritual Methods, had a concept much
00:40:43.903 --> 00:40:45.762
more applicable to the magician.
00:40:46.599 --> 00:40:53.395
Gray starts us off with four basic objects. a knife, a paintbrush, a cup, and a disc.
00:40:53.986 --> 00:40:57.123
Black on the disc, black on one side, white on the other. Now,
00:40:57.123 --> 00:41:00.913
besides being a simple version of the grail aloes and the magician's elemental
00:41:00.913 --> 00:41:07.344
tools, these objects also are creative agents and manifesting surfaces in their own right.
00:41:08.174 --> 00:41:12.633
Barden wants us to work on visually remembering a collection of nonspecific
00:41:12.633 --> 00:41:16.283
common objects as to position, size, and color, etc.
00:41:17.135 --> 00:41:22.452
This is good memory training, but this is an important point of the creative process.
00:41:23.057 --> 00:41:29.053
Our brain's optic sensor processor is programmed to filter out what it considers
00:41:29.053 --> 00:41:31.550
unnecessary sensory input.
00:41:32.490 --> 00:41:41.446
Thus, we only perceive as much of an object as we need to in order to identify it and to use it.
00:41:42.401 --> 00:41:48.023
But to design it and to create it, either as an engineer on his drawing board
00:41:48.023 --> 00:41:54.420
or a magician in his meditation, you need to do more than just snap a metal picture of it.
00:41:55.040 --> 00:42:00.173
You need to know the object in every aspect. For example, we're all familiar
00:42:00.173 --> 00:42:01.913
with pencils. We use them every day.
00:42:03.171 --> 00:42:06.579
But how many of us know how many sides a pencil has?
00:42:07.181 --> 00:42:11.628
Do we know how many vans and crimps there are in the eraser shield? Thank you.
00:42:12.862 --> 00:42:17.940
Do we know what's printed and embossed, actually, or on the side of the pencil?
00:42:18.526 --> 00:42:21.800
And at this point, we must admit, we really don't know pencils.
00:42:22.258 --> 00:42:24.006
So how can we expect to create one?
00:42:24.736 --> 00:42:28.677
The above conception is so important to this process that it cannot be overemphasized.
00:42:29.107 --> 00:42:34.012
This is why it's important to read Walter Atkinson, and he wrote under the name
00:42:34.012 --> 00:42:37.443
of Rama Sharaka, his little book on Raja Yoga.
00:42:38.122 --> 00:42:45.801
His is one of the very few works to deal with this vital aspect of the imaginary creative process.
00:42:46.411 --> 00:42:53.312
So, to begin, we select the most simple utilitarian objects to represent our
00:42:53.312 --> 00:42:54.712
four magical implements.
00:42:54.712 --> 00:42:57.732
A small paring knife, paint the handle yellow if you want to,
00:42:58.173 --> 00:43:02.248
a small watercolor brush, paint the handle red if you wish or get a red handle,
00:43:02.718 --> 00:43:08.562
a shot glass or any small glass tumbler, and your disk, five inches in diameter,
00:43:08.562 --> 00:43:10.938
white on the inverse and black on the reverse.
00:43:11.501 --> 00:43:14.832
Along with these items, you will need a small practice stand,
00:43:14.832 --> 00:43:17.902
about 18 inches high, a black cloth.
00:43:19.559 --> 00:43:23.901
About 3 feet square minimum, a kitchen timer and a small tape measure,
00:43:24.156 --> 00:43:28.692
a blackout mask, blindfold, and if you are in a noisy environment,
00:43:28.692 --> 00:43:30.356
a pair of shooting muffs in addition.
00:43:30.907 --> 00:43:35.117
And it's nice to have a horse air cushion, the yoga meditation type to sit on.
00:43:35.713 --> 00:43:40.467
Now, 15 minutes a day, preferably in the morning, should be allocated in this training.
00:43:41.473 --> 00:43:45.742
Now we have our preliminary homework done. We have our basic texts,
00:43:45.742 --> 00:43:46.792
and we have our equipment.
00:43:46.792 --> 00:43:50.862
Let's get down to work. I found that early morning, before the stresses of the
00:43:50.862 --> 00:43:55.467
day set in, and wow, a store of sucking energy as high as the best time,
00:43:55.821 --> 00:43:57.720
after coffee but before breakfast.
00:43:58.185 --> 00:44:02.712
Remember to start with a few stretching and limbering up exercises and take
00:44:02.712 --> 00:44:07.862
the asana, do a few minutes pranayama, put your black cloth over your practice
00:44:07.862 --> 00:44:10.241
stand, lay out your first object tonight.
00:44:10.658 --> 00:44:15.586
The air element, the sword, the air dagger, rave me on the east. First,
00:44:16.851 --> 00:44:19.871
Study the object and the knife carefully.
00:44:20.211 --> 00:44:23.800
Measure it with your tape. Measure the handle, the blade, the width,
00:44:23.975 --> 00:44:27.290
the thickness, etc. Study the logo if it has one.
00:44:27.644 --> 00:44:33.951
Learn everything about this object and write it down in your journal and make
00:44:33.951 --> 00:44:37.349
a sketch of it with the dimensions and color it in.
00:44:37.738 --> 00:44:42.351
You will know more about this little knife than anyone except the person who
00:44:42.351 --> 00:44:43.329
originally designed it.
00:44:44.247 --> 00:44:49.961
Now then, put the knife on the table, close your eyes, and pick it up. This is important.
00:44:50.441 --> 00:44:56.476
Hold it between your hands with your fingertips and see it between your fingers.
00:44:57.062 --> 00:45:01.131
Now, you folks who think you can visualize on front screen behind your closed
00:45:01.131 --> 00:45:04.765
eyelids will see that you can. If you think you can, you'll see you can't.
00:45:05.084 --> 00:45:08.201
This process brings you on front screen automatically.
00:45:08.837 --> 00:45:14.567
Remember that. You hold your object first with your blindfold on, and then don't bring it.
00:45:15.142 --> 00:45:18.821
Keep your eyes closed first. Now, slowly move the knife around at different
00:45:18.821 --> 00:45:22.015
sides and angles. Place it back on the table. See it lying there.
00:45:22.299 --> 00:45:26.316
Now, open your eyes. Set your timer for five minutes. Close your eyes again.
00:45:26.519 --> 00:45:30.164
Pick up your object again, and hold it until the picture is strong,
00:45:30.380 --> 00:45:32.499
and then replace it on the table and see it there.
00:45:32.875 --> 00:45:37.851
Hold this visualization for five minutes. Every time it starts to fade or go wonky, pick it up.
00:45:38.205 --> 00:45:41.971
Pick the knife up again with eyes closed. Reinforce the picture with tactile
00:45:41.971 --> 00:45:45.383
reference. You have successfully completed this exercise.
00:45:45.645 --> 00:45:48.866
When you can go a full five minutes on the stationary object,
00:45:49.122 --> 00:45:55.165
using this method is much easier to accomplish than Barden's struggle until you see it approach.
00:45:55.905 --> 00:46:01.641
Magic is not easy, so take advantage of every technique that will help you along the way.
00:46:01.641 --> 00:46:06.941
Remember, Barden was a clairvoyant, and even though he knew his yoga and everything
00:46:06.941 --> 00:46:11.411
else, He really didn't know how to teach you this, how to teach you to visualize,
00:46:11.411 --> 00:46:15.001
because he was clarifying it with eyes open.
00:46:15.924 --> 00:46:21.505
Now that we have the eyes closed, on screen, behind the closed eyelids, and this is important,
00:46:21.946 --> 00:46:27.014
now we have the eyes closed, on screen, behind closed eyelids,
00:46:27.380 --> 00:46:31.464
and part of this is mastered to the extent that we can hold each of our practice
00:46:31.464 --> 00:46:35.025
objects clearly in view for several minutes. This is with eyes closed.
00:46:35.623 --> 00:46:39.559
Let's start moving them around, rotating them, and changing their size.
00:46:39.756 --> 00:46:40.853
That's without holding them.
00:46:41.351 --> 00:46:45.693
Remember, the small objects at close range are seen in isometric proportions,
00:46:45.989 --> 00:46:50.194
perspective that is not a problem until we begin perspective itself is not a
00:46:50.194 --> 00:46:53.321
problem until we begin to create environments.
00:46:54.472 --> 00:46:59.312
In Magical Ritual Methods, this is a book by Bill Gray, he provided one of the
00:46:59.312 --> 00:47:02.872
cleverest ways to visualize letters in Hebrew.
00:47:03.383 --> 00:47:05.078
We prefer, of course, the Phoenician.
00:47:05.875 --> 00:47:11.302
When you have reached the stage where you can fully and steadily visualize your
00:47:11.302 --> 00:47:16.362
tools, you fill your cup, your little glass, with brightly colored paint in
00:47:16.362 --> 00:47:19.514
the color allocated for the letter. Of course, you're visualizing this.
00:47:20.187 --> 00:47:24.212
And you see the letter that you see in the magical alphabet.
00:47:24.212 --> 00:47:30.748
But you dip your paintbrush, your little wand paintbrush, the fire wand,
00:47:31.004 --> 00:47:32.397
into your little chalice.
00:47:32.856 --> 00:47:34.712
And then you're doing all this with your eyes closed now.
00:47:35.670 --> 00:47:40.212
And then describe the letter on your disk. And you're seeing all this,
00:47:40.212 --> 00:47:43.164
either in the black side or the white side.
00:47:43.425 --> 00:47:48.783
And be sure to vocalize and vibrate the letter or formula as you visualize it.
00:47:49.572 --> 00:47:55.132
This combines the dynamic movement of your astral magical tools with the creative
00:47:55.132 --> 00:47:57.652
visualization of the magical alphabet, and it links it
00:47:57.995 --> 00:48:01.892
to the power of your magical voice, which completes the sensory loop to your
00:48:01.892 --> 00:48:05.211
subconscious mind and quadruples the effect.
00:48:06.034 --> 00:48:11.195
This is a technique of considerable value, and it varies to learn and to do.
00:48:11.775 --> 00:48:19.432
It will give you the ability to pronounce names of power in the full magical sense of the word.
00:48:20.047 --> 00:48:21.970
After mastering objects.
00:48:23.279 --> 00:48:27.899
And astral formula creation, you should work on creating God forms,
00:48:27.899 --> 00:48:33.667
angelic icons, the Tibetans call these anthropomorphic symbolic figures, the Tonkas.
00:48:34.485 --> 00:48:37.629
In the OTA, we start with the four archangels of the quarters,
00:48:37.629 --> 00:48:40.046
Raphael, Mikael, Gabrielle, and Oriole.
00:48:40.959 --> 00:48:44.863
Yes, and the first two are male, and the second pair are female in our system.
00:48:45.467 --> 00:48:50.949
If you want to see our Gaborah warrior goddess from Manat, she's pictured in
00:48:50.949 --> 00:48:55.649
our new tarot card conquest, accessing Daoth, and you want to see the seventh
00:48:55.649 --> 00:48:58.123
ray, look to the red ray for that.
00:48:58.693 --> 00:49:02.935
Make these forms so real and plastic that they are ready to come alive,
00:49:03.162 --> 00:49:06.070
and then they will come alive.
00:49:06.918 --> 00:49:08.398
What you see is what you get.
00:49:09.552 --> 00:49:14.156
So now, how do we learn to do all this with eyes open?
00:49:15.069 --> 00:49:19.459
Well, it's much easier than you probably thought. First, you will be doing this
00:49:19.459 --> 00:49:22.139
in a subdued light on a prepared surface.
00:49:22.447 --> 00:49:26.650
One magical school used a blue velvet drape for this purpose.
00:49:27.067 --> 00:49:31.309
But some years ago, I discovered how to make the transition from eyes closed
00:49:31.309 --> 00:49:37.607
to eyes open a very easy process. You start by simply opening your eyes behind your blindfold.
00:49:38.297 --> 00:49:41.972
That's hardly any different than with your eyes closed.
00:49:42.413 --> 00:49:46.669
And you got your object on front screen. Once you've gotten this technique to
00:49:46.669 --> 00:49:52.664
working, then adjust the light as low as necessary and slowly remove the blindfold.
00:49:52.873 --> 00:49:58.144
Extending your locust to the black velvet or black or velvet broadcloth drape
00:49:58.510 --> 00:50:05.505
and you will quickly discover that there was no great hurdle to overcome.
00:50:06.149 --> 00:50:11.529
Now, clairaudience, it would be the depth of folly to work for months creating
00:50:11.529 --> 00:50:16.409
an angelic or mythic God form which would finally appear in full glory and visual
00:50:16.409 --> 00:50:19.129
splendor but would be utterly silent.
00:50:19.993 --> 00:50:24.426
In the case of our and almodel invocations and goetic invocations,
00:50:24.810 --> 00:50:29.873
the entities most often engender knowings in our minds or speak through our
00:50:29.873 --> 00:50:32.118
lips in the mediumistic channeling process.
00:50:32.745 --> 00:50:36.023
Now, having perfected these methods of spirit communication,
00:50:36.023 --> 00:50:40.843
you can fall back on them to provide a voice for your advanced free-form visualizations.
00:50:42.277 --> 00:50:47.480
But why not upgrade your inner plain vocal communication process as well?
00:50:48.240 --> 00:50:52.054
Abarth recommends combining imagined sounds with your imagined pictures.
00:50:52.453 --> 00:50:55.733
See and hear bells ringing, clocks ticking, birds singing, and so on,
00:50:55.733 --> 00:51:02.913
and imagine the sound of Oum, and the names of archangels, the names of power, the tetragrammaton.
00:51:04.384 --> 00:51:11.293
Get a set of tuning forks, a pitch pipe, or an electronic synthesizer to attune
00:51:11.293 --> 00:51:17.153
your psychic centers or chakras to the musical scale, and hear these notes in audio memory.
00:51:17.533 --> 00:51:20.635
Then create them. And don't forget, smell, touch, and taste.
00:51:21.204 --> 00:51:25.263
Try eating your favorite meal on the astral, but be careful not to violate your diet.
00:51:25.855 --> 00:51:29.993
Astral ice cream will not make you laugh, but it might erode your willpower
00:51:30.243 --> 00:51:32.893
and thus accomplish the same thing indirectly.
00:51:33.393 --> 00:51:34.805
What you see is what you get.
00:51:35.514 --> 00:51:41.993
Remember that modern psychology confirms what magicians have known for thousands of years.
00:51:42.369 --> 00:51:47.867
A vivid apparition can be as awe-inspiring or as terrifying to the human mind
00:51:48.163 --> 00:51:53.056
as any manifestation of what the materialists call reality.
00:51:53.753 --> 00:51:59.943
Beyond that significant fact lies the deeper and more profound truth of the
00:51:59.943 --> 00:52:03.453
creative powers inherent in such a process.
00:52:04.162 --> 00:52:07.072
Well, that concludes our lesson on that.
00:52:09.601 --> 00:52:10.484
Next week.
00:52:13.266 --> 00:52:19.126
We're going to have a discussion on magical hypnosis. And we're going to get
00:52:19.126 --> 00:52:21.000
into in-depth on that subject.
00:52:21.696 --> 00:52:25.555
And hopefully, I'm going to have one of my esteemed colleagues.
00:52:26.726 --> 00:52:30.206
Ann Finnan, who has become quite a magical hypnotist.
00:52:30.206 --> 00:52:37.430
She's taken professional courses in hypnotism, and she's especially good at magical hypnosis.
00:52:37.726 --> 00:52:44.601
We'll have her call in, and she and I will expound on hypnosis and magic,
00:52:45.060 --> 00:52:49.701
and that will be very, very well worth tuning into.
00:52:50.299 --> 00:52:55.196
Creative visualization is one of the most powerful techniques and one of the
00:52:55.196 --> 00:53:01.946
most satisfying techniques that, by the way, just really can do nothing but
00:53:01.946 --> 00:53:04.531
improve your concentration.
00:53:04.763 --> 00:53:07.334
It improves your concentration. It improves your focus.
00:53:07.718 --> 00:53:10.700
Improves your entire life and be improved by it.
00:53:11.054 --> 00:53:17.544
But hypnosis, self-hypnosis and hypnosis are very important to that.
00:53:18.142 --> 00:53:20.313
So be sure and tune in next week
00:53:20.626 --> 00:53:26.966
and have call-ins because you can talk to myself and you can talk to me.
00:53:26.966 --> 00:53:31.966
Well, Anne's on the phone, of course you can't, but you can call in after she's,
00:53:32.586 --> 00:53:36.685
wrapped up and we can talk about the whole hypnotic process.
00:53:37.161 --> 00:53:40.957
And this, by the way, was suppressed.
00:53:41.680 --> 00:53:48.899
The whole hypnotic process in magic was suppressed until just really literally.
00:53:49.833 --> 00:53:57.134
I broke the dam on this one because I published a paper in 1972,
00:53:58.854 --> 00:54:02.318
called Magic and Hypnosis in Gnastica magazine.
00:54:02.654 --> 00:54:07.738
And this has been reprinted in Europe, and it's translated into German.
00:54:08.520 --> 00:54:13.148
It's a landmark paper. Okay, so tune in next week and good magic.