Suitable Jewelry for Magic, Spirits, and Forces

As many of my readers and followers on Twitter and Facebook are aware, one of the most important things I craft for my personal practice are pieces of jewelry I wear in honor of the spirits or as talismans of particular forces.  This goes far beyond the lamens used in conjuration or Solomonic rings, but include what I’ve come to call carcanets, beaded necklaces and bracelets with colors, stones, and metals that resonate well with a particular spirit.  I started making them to have simple wearable talismans of planetary and elemental forces that wouldn’t attract too much attention or be too bulky to carry around, but I ended up making more for some of my gods and spirits, and then more for other people based on custom needs.  On Facebook, The Professor from the blog Traif Banquet noted that she’s seen me make many different types of carcanets and was interested in how I pick the colors and patterns for each, and how I consecrate them and use them in ritual work.  Of course, I was headed to a theme park that day to support the local LGBT community, so it wasn’t quite the time for such a discussion then and there, but I decided to oblige anyway and write a fuller explanation of what exactly I do.

So, what is a carcanet?  Physically speaking, a carcanet is ritual talismanic jewelry made from beads that sometimes incorporate precious and semi-precious stone or metal or wood or bone, sometimes religious items like saint medallions or crosses, and sometimes other items that is worn to derive the blessing, presence, and aid of a particular spiritual force or entity.  I make mine from artificial twine and seed beads and make them into necklaces and bracelets, though there’s nothing saying you have to use the same materials I do.  I use artificial twine because it’s sturdy and resistant to breaking, though elastic cord or leather can be useful too on occasion.  Each carcanet is attuned and consecrated to a particular force or spirit, and the colors, materials, and patterns on the carcanet indicate exactly what that attunement is and to whom or to what it’s consecrated by or under.

For instance, consider my Sash of Powers, something I made a while back for use in standard Western ceremonial work, which contains representations of all the forces used in Western ceremonial magic based on the Golden Dawn and Agrippan materia.  This is worn across one shoulder and drapes down to the opposite hip, since it’s far too long to wear as a necklace or bracelet.  Among other forces, the Sash of Powers contains the 24 forces that we use in mathesis and, for that matter, most of the Western mystery tradition, and the colors I use for this tend are those I tend to use in most of my work:

Sash of Powers

  • Four elements: I use the system of flashing colors that the Golden Dawn instituted.  Thus, I use red (primary) and green (secondary) for Fire, yellow and purple for Air, and blue and orange for Water.  They didn’t really have flashing colors for Earth that I can find, instead using the “muddled” colors associated with the sephirah Malkuth (black, citrine, olive, russet), so instead I use black (primary) and white (secondary).
  • Spirit: I’ve never really considered this an element proper (as my mathesis stuff shows), though it can be considered an element or a planet or any other force based on the need.  Because of this, it’s hard to give a color for pure Spirit; I tend to use pure white, clear, pearlescent, or rainbow for Spirit.  If we consider Spirit to be the realm of the fixed stars (i.e. Chokmah), then some combination of silver, clear grey, or light blue might work; if we consider it pure divinity (i.e. Kether), then white and clear would work.
  • Seven planets: I use the system of Queen and King scales of the Golden Dawn, so black and crimson for Saturn, blue and purple for Jupiter, red and orange for Mars, and so forth.
  • Twelve signs of the Zodiac: I never liked the scales of the Four Worlds the Golden Dawn uses for the paths of the Tree of Life, from which we can get  colors for the twelve Zodiac signs.  Instead, I use a combination of the Queen scale of the Golden Dawn for the ruling planet of the sign as well as the colors that Agrippa gives for the sign (book I, chapter 49).  Thus, as an example, consider Aries and Libra.  Agrippa gives white as the color for both these signs, while the corresponding Queen scale of the ruling planets are red for Aries ruled by Mars and green for Libra ruled by Venus.  Thus, Aries has red and white, and Libra has green and white as its colors.  I tend to differentiate the Agrippan zodiacal colors from the Queen scale planetary colors by using a slightly brighter, more reflective, or metallic variant (so a reflective clear red instead of a flat red), but it’s not necessary.

Of course, the Sash also has a few other things marked on it, including the 12 Banners of the Names of God and the 16 geomantic figures, but those aren’t forces, per se.  These are less colors to be used with forces and more representations of more complex things that can vary.  Geomantic figures, being ultimately related to the Earth, use white and black as the colors of the element of Earth (with a white bead noting an active line and a black bead a passive line in a geomantic figure); I used white, yellow-gold, black, and brown to represent the four letters of the Tetragrammaton put in their different permutations, but I’m not sure that it matters for this how or which colors to use.

Of course, I don’t make carcanets and the like for just pure forces.  The major focus of what I make nowadays is for individual spirits, gods, saints, and the like, and that’s where creativity and research really come into play.  Unfortunately, most of the Western tradition (especially books like the Lemegeton) focus on the use of certain kinds of metals or woods and less on colors than I’d like, so I have to branch out and be a little more innovative to figure out what colors go with what spirit.  However, the way I tend to settle on colors follows a pattern:

  1. Traditions of the spirits takes precedence; if there’s a body of lore or worship built up around something, I’ll likely start with those colors, if not just use those colors.  For instance, it’s tradition that Saint Cyprian of Antioch’s colors are generally perceived to be black, purple, white, and red, so nearly all my Saint Cyprian gear has black, purple, and white on it (red I tend to reserve for specific workings or subsume it into purple, perhaps settling on a compromise of wine or dark red).  The archangels of Christianity often have their own color symbolism, especially in icons from the Orthodox tradition, so I might use the colors most commonly seen on their robes or in their icons, like light blue and pink for Sealtiel.
  2. Association with the forces described above can play a role in deciding colors.  For instance, I work with Hephaistos, the blacksmith god of the Greeks, except there’s so little known about Hephaistos’ cult back in the day that I have no tradition to go on.  However, Agrippa in his scale of 12 (book II, chapter 15) helpfully gives an association between the 12 Olympian gods (including Hestia and excluding Dionysus) and the 12 signs of the Zodiac.  There, Hephaistos is associated with the zodiac sign of Libra, and my colors for Libra are white and green, so good colors to use for Hephaistos can include white and green, as well.
  3. Asking the spirit themselves for colors they like can also work well.  This generally requires being in tune and in good standing with the spirit to get that kind of information about, and it might require divination or light trancework to get a good set of colors that works well, but overall asking the spirit themselves for what colors they like can be hugely helpful.  However, no two people may arrive at the same colors for the same spirit, based on their relationship with them.  For instance, my Hermes altar uses orange as the primary color (since I started off conflating the god Hermes with the planet Mercury, which isn’t too hard a leap to make), but my ritual necklace I have for him uses bone-white, brown, light blue, and gold beads based on a color scheme he gave me.
  4. Syncretism of different traditions can be informative as well.  If it’s alright with the spirit, looking at other traditions not native to them can help me pick what colors to use.  Going back to Hephaistos, I asked if it was alright if I looked at another tradition with a huge repertoire of color symbolism: Santeria.  The elekes and collares of Santeria are color-coded necklaces that indicate which orisha one has received, and although the ATR I’m in (yes, I’m an initiate in one) doesn’t have colors of its own, our spirits in that ATR are happy with using the same colors as Santeria (since they’re basically cousins of each other, much as how Roman and Greek gods are mythological cousins).  In Santeria, the blacksmith god Ogun has the colors black and green, so with the permission of Hephaistos, I also use black and green for some of my works in conjunction with white and green derived from Hephaistos’ association with the zodiac sign of Libra.  This can be tricky, however, and you need people on both sides to agree that the use of another traditions’ colors is alright, especially if you happen to live in an area with a large number of that other tradition who might confuse you for one of them.

As a rule, I like to have at least two colors on the carcanet.  To be honest, this keeps the thing from being visually boring; I dislike having a single solid color unless it’s required for a spiritual purpose, kind of like the Santerian orisha Obatala having his eleke being pure white.  That said, most spirits tend to have a multitude of powers, fields, strengths, and things they rule over; the different colors I use reflect those different responsibilities and dominions.  Too many colors can be confusing, however; I usually stick between two and four colors per carcanet, but sometimes more if there’s a specific need for it or if the spirit itself is associated with having many colors.

Beyond the colors of beads themselves, most of my carcanets and the like often make use of precious and semi-precious stone and metal beads, and those are much better attested in the Western traditions generally.  Of course, color symbolism is important in picking these, too, as well as the specific resonances of the stones or metals or whatnot.  For instance, red stones tend to be ruled by Mars in general, though carnelian, ruby, and fire agate all have slightly different feels that may make them better for some forces or spirits instead of others.  The minerals and chemicals within the stones themselves, too, can be important, which can link them together with metals.  For instance, one of my favorite green stones is malachite, which contains a high amount of copper that gives it its bright green color.  Copper and green are both associated with Venus, which makes this an excellent Cytherean/Venereal stone suitable for the planetary force as well as the goddess Aphrodite.

Once I have the colors figured out, then it’s time to figure out the patterns.  The most straightforward and simple pattern, assuming two colors, is to alternate the colors of beads one by one (so red, black, red, black, red, black…).  Personally, I hate this system, and I try to stay away from it as much as I can.  I generally figure out patterns based on numbers sacred to the spirit.  For instance, Saint Cyprian’s sacred number is 9, so the patterns I use tend to involve 9 in some way; one such carcanet I made for him has nine black beads, three wine beads, one white bead, one clear bead, one white bead, and three more wine beads for a “set” of 18, or 2 × 9, and I’ll repeat this as many times as necessary to get a carcanet of suitable length.  My mathesis carcanet (yes, I even made one for that) has ten white beads followed by one gold bead, since 10 and 1 are sacred numbers in mathesis and Pythagoreanism.  My Venus carcanet has two sets of seven green beads separated by a tiger’s eye bead, two sets of seven gold beads separated by a green aventurine bead, and a set of 14 (2 × 7) beads that alternate green and gold.  Making the patterns can be tricky, but usually I have a good idea in my head before I launch into stringing the beads.  On occasion, I’ll decide a few sets into the carcanet that the pattern isn’t good and I’ll start over, but they’re generally close to what I had in mind.

Of course, crafting the carcanets and the like is only half the process; the other half is consecration.  Just like how the colors and patterns may change based on the purpose, the means of consecrating the carcanet will also change.  Generally speaking, however, consecration falls into two different methods.  Both methods first start off with ritually washing the carcanet off in holy water to cleanse and prepare it for future blessing, and both tend to involve anointing with oil and suffumigation in incense, but beyond that, they’re different:

  • Force carcanet consecration: A carcanet that’s a talisman of a force (e.g. Water, Mercury, or Taurus) is consecrated by conjuring the angel associated with the force (e.g. Gabriel, Raphael or Asmodel, respectively) at an appropriate time, generally during an appropriate planetary day and hour or when the zodiac sign in question is rising or culminating during the waxing moon.  I’ll charge the angel in the appropriate godname and office to consecrate, sanctify, dedicate, bless, and empower the carcanet to serve for me a powerful talisman and connection and link to the force in question, that it may radiate the same force into my sphere that I may call upon and direct it at will and in my need.  I’ll suffumigate it in the incense burning for the conjuration and anoint it with an appropriate oil if desired and if I have one.  You know, the usual.  After the conjuration, I’ll set the carcanet on top of the lamen of the angel wrapped around a candle to continue and complete the charge of the carcanet.  Once the candle burns out, I’ll often (but not always) conjure the angel again and thank them for helping me consecrate the carcanet, charging them to seal the power into the carcanet and make it a powerful tool and instrument for my work.  This completes (and, usually, overdoes) the consecration.
  • Spirit carcanet consecration: A carcanet that’s dedicated in the honor and blessing of a spirit, on the other hand, takes a slightly different route.  Instead of turning the carcanet into a simple talisman, it becomes more of a devotional offering to be worn in the honor and service of a particular spirit.  Yes, it still accomplishes the result of bringing the blessings of a particular force into my life, but this way it’s less that it’s being filled with a particular power or motion and more that it’s bringing the attention and blessings of a particular spirit.  In this way, I’ll go up to the spirit, make offerings to them at a time good or convenient for them, and formally dedicate the carcanet as an offering to them to be worn in their honor and devotion.  I’ll often anoint the carcanet in oil or their offering drink (wine or water, usually), drape the carcanet on the image or statue of the spirit or wrap it around a prepared candle, and I’ll ask that they consecrate, sanctify, dedicate, yada yada the carcanet to their own blessings and purpose.  After leaving the carcanet on their altar or shrine for a week, I’ll make another offering to them thanking them for the carcanet’s blessings and wear it during certain times to obtain their blessing and in their honor as a kind of votive action.

Now that I think about it, the methods for consecrating them for a force via an angelic conjuration and for a spirit by dedication aren’t that different; it’s just two variations of the same idea, really.  Plus, depending on the carcanet and spirit/force it’s consecrated under, I may maintain its power in different ways, sometimes by anointing it with oil or “feeding” it with other sundry liquids, sometimes by praying over it, sometimes by letting it sit out in sunlight or moonlight.  It all depends.  The carcanet is a general ritual tool that, even though the material basis looks the same being made out of twine and glass, its spiritual essence and use may vary wildly.

Speaking of, how are these things used?  It’s pretty simple: you wear them.  That’s it.  I’ll often say a short blessing or invocation of the spirit or force to which a carcanet is dedicated or consecrated under when I don one, and I’ll say a prayer of thanks and blessing when I remove one, but that’s about it.  Seed beads are often too small for my big fingers to manipulate, so I don’t bother with using them as prayer tools but rather as part of spiritual regalia, armor, and connection when I need it.  On occasion, I’ll make a chaplet or set of prayer beads large enough to be worn, and in those cases the carcanet doubles as a prayer instrument, but this is the exception and not the norm for me; such prayer carcanets tend to use stone and metal beads more than seed beads, so the way I make them tends to differ a little bit since my options are usually more limited.

And yes, if you’re interested, I do take custom commissions for carcanets and can make them to your specifications or based on my own interactions with the gods and spirits.  If you like, contact me or send me a message through my Etsy shop and we can hash something out.

Search Term Shoot Back, November 2013

I get a lot of hits on my blog from across the realm of the Internet, many of which are from links on Facebook, Twitter, or RSS readers.  To you guys who follow me: thank you!  You give me many happies.  However, I also get a huge number of new visitors daily to my blog from people who search around the Internet for various search terms.  As part of a monthly project, here are some short replies to some of the search terms people have used to arrive here at the Digital Ambler.  This focuses on some search terms that caught my eye during the month of November 2013.  As most of you know, the big thing that’s been going on this month has been the 49 Days of Definitions project, but people are still finding their way here for many other things.  I also noticed that I had an unusual number of “unknown search terms”, referring to people who are using anonymous search techniques and secure browsing.  Good for you; keep it up!  I support that like whoa.

“orgone symbol” — As far as I’m aware, I know of no symbol for orgone generally; granted that I haven’t read many of Reich’s works, but I don’t know of an “orgone factor” represented with any Greek letter or symbol.  Orgone is just an ambient life force, so it doesn’t have a religion or *ism that has its own symbol; you might use the Chinese character 氣, qi, which is used for a similar concept but might be crossing disciplines too enthusiastically.  If you want a symbol to work with orgone, you might look up symbols used in Western-style reiki, or look up radionics patterns or designs.  Some of my experiments with making “orgone circuitboards” or force compasses (which are closer to radionics than other things) can be found at this post.

“how to get over an addiction to divination” — For reference, check out my post on divinaddiction and divinaversion.  First, let me clarify: an addiction to divination is basically micromanaging the future without letting things have a chance to happen first.  It is over-reliance and dependence on divination in order to do anything of use.  It’s alright to do ten readings in a row to figure out what’s needed for a trip or how certain things on the trip will go; it’s unhealthy if you do it for when you should leave for work in the morning each morning.  (Note to hyper-Christianist mothers: use of divination is a necessary but not sufficient symptom of divinaddiction.  Divination isn’t ungodly; you are for your hypocrisy and fundamentalism.)  Honestly, the best way to get over an addiction to divination is to stop caring so much.  Let life happen; you’re not in control of everything, nor have you ever, nor will you ever be.  Use divination (sparingly) to see what you can work to change.  Fix the problems that arise, and live with the predicaments that come your way.  Ease up and stop being so goddamn controlling of everything in your life; learn your lessons, live well, and let go.

“talisman for love tetragrammaton key solomon” — The second, third, and fifth pentacles of Venus from the Key of Solomon should do you nicely.  You might want to find the Mathers’ version of the text, which is drawn much more clearly.

“how to adhere my copper wand to my crystal” — Assuming you mean you have a crystal point that you’d like to affix to a copper wand, first I recommend you make a niche, nook, or pit in the wand that can hold the crystal comfortably and safely (much as in my ebony wand project); if the wand is a tube, see if you can get a copper pipe opening or valve that’s just big enough to let the crystal through while screwing the valve onto one end (much as in my fire wand project).  In either case, when you’re ready to make the bond, get two-part epoxy from your local hardware or craft store.  Mix the two parts together, apply to both surfaces, push together and hold firmly, then let cure for 24 hours.  The bond made will be permanent and very sturdy.

“why are there ruling angels for planets” — Oooh, a deceptively simple philosophical question!  To condense a lot of philosophy and theology into a brief explanation in a post mocking other people for finding my blog, the Divine Source has these things called “angels”, which are basically extensions of itself in other realms to achieve or create certain ends.  It’s like the Divine is the brain or central command of operations, and the angels are the actual hands and feet or the machines that actually do the work.  In that sense, everything that happens is manifested under the guidance and rulership of angels; it’s not just planets, but everything has a ruling angel, and some things have multiple angels.  For instance, the “threefold keeper of Man” (Agrippa, book III, chapter 22) refers to three angels each and every human being has ruling over them: one for their specific incarnation and destiny in this life (natal genius), one for their current job and productive capabilities there (angel of occupation), and one that connects us directly to the Divine to guide us through all circumstances in all lifetimes (the Holy Guardian Angel or “Holy Demon”).  Working with the ruling angel of anything is basically working with the thing that commands and directs the thing in this world, so it’s a powerful way to get in touch with anything and understand it.

“spiritual cleaningyour home with van van oil do i start from front to back” — The way I’ve heard it, when you’re cleaning out your house, you want to start from the back of the property to the front; when you’re blessing your house, you want to start from the front of the property to the back.  I wouldn’t necessarily cleanse things off with Van Van oil, though it’s possible; I’d save Van Van oil for blessing and protecting after cleansing and banishing.  YMMV.

“what are geomantic ablilities?” — The ability to understand the symbols and techniques involved in geomantic divination, but more than that, to cut through bullshit, ask concrete and specific questions, make effective and useful plans of action to achieve goals, to be able to cut a large problem down into multiple parts for easier analysis

“lost + stolen + planets + houses + astrology -vedic -radu -indian” — First, major props to anyone who actually knows how to use a goddamn search engine.  Whoever you are, I love you for knowing and specifying what you actually want to search for.   As for the actual substance, what you appear to be looking for is a method to find lost or stolen items using only Western astrology (as opposed to Vedic or jyotish astrology).  While I’m no real astrologer, I’d suggest looking at the significator of the second house to represent the object, that of the fifth (fourth from the second) to determine where it might be, and that of the seventh to see whether anyone stole it or whether you just happened to lose it.  Apply the other rules of horary astrology as normal.  If you want a geomantic perspective on how to find lost or stolen objects, read this post, which is more than a little influenced by horary astrology techniques.

“greek red five pointed star on a column geomantic magick” — I…what?  Are you trying to type out an entire slide on a Freemason conspiracy theorist PowerPoint presentation, or an entire Golden Dawn visualization?  As far as I’m aware, there are multiple subjects in that query, so it’s hard to understand what’s being searched for here.  Using my powerful geomantic abilities, I’m gonna have you whittle it down for me a bit.

“raven orthaevelve” — Ah, seems like I’ve been mentioning her plenty enough on my blog!  Raven Orthaevelve is a fantastic friend of mine, who’s also a very skilled craftswoman, silversmith, and reference for several occult communities.  She’s incredibly smart and regularly vomits textbooks of information, and is quite deft at weaving modern medical and scientific knowledge with alchemical, herbal, and spiritual lore.  She has an Etsy page (with beautiful works that make excellent holiday gifts), and she’s open for commissions; she’s helped me out immensely on a number of projects, and I’ve got her help in something very special in the near future, too.  Raven is also a devotee of the Mesoamerican (Mayan, Aztec, and Olmec, mostly) gods and does Mayan astrological forecasting on her Facebook page.

“books about positive energy communing with spirits” — If you’re still in the phase where you’re waffling about “positive energy”, I’m going to say that you’re not ready or magically mature enough to conjure or summon spirits.  Prayer to the angels or beneficial gods like Tykhe or Fortuna might be better for you.  Most spirits don’t care about “positive energy” but “energy that works”, no matter whether it’s positive or negative, lifey or deathy, white or black, or whatever.

“organic orgone” — You can pick this stuff up at your local Whole Foods or Trader Joe’s, usually beside the incense and scented soaps sections.  It’ll cost a little more than the orgone that comes with chemical preservatives, but it’s much healthier for you.  Goes great in kombucha, vegan quinoa kale curry, and anything that doesn’t actually taste good or is reasonable to buy but makes you feel better for being an entitled, yuppie activist-wannabe.

“how to conjuration calzas angel for help” — I’ve never heard of this spirit before, so it might be from some obscure text I haven’t come across yet.  Googling for “calzas” I find nothing but images of tights, stockings, hosiery, and skinny jeans, so if you wanted to conjure that, you could go to your local Target or department store and buy some; if you wanted something more spiritual, you could conjure the ruling angel of this type of clothing by drawing on a stylized picture of pants on a lamen and performing a Trithemian conjuration ritual.

“orgone generator orb”  — An orgone generator is anything that collects or “generates” orgone, usually in the form of a box or cabinet.  A container whose walls are lined with repeating layers of organic and inorganic material work fine for this to collect orgone in the inside of the container; a simple version of this can be made by taking multiple pieces of printer paper and tinfoil, putting one on top of the other in alternating layers with the paper as both the outermost and innermost layers, then gluing or taping it all together and making a box out of it.  An orb can be done in a similar way, but is difficult to make easily; you don’t need an orb to focus the orgone in the generator, since the generator simply collects it all inside anyway.  I use an orb in my MaGOS setup, but that’s for a different purpose; I’m using an orgone accelerator (which propels orgone in a particular direction) into a crystal field using the orb to redirect the energy in the field, so this probably isn’t what you’re looking for.  (Then again, with anything orgone-related, it’s hard to determine what people actually want out of it.)

“geomantic hours”  — The geomantic hours are a development of time division much like the planetary hours, where individual slices of time are assigned to the seven planets.  Similarly, previous geomancers have tried to form a similar system of time where one assigns individual geomantic figures to the hours, but I haven’t found this system to be of much use.  While the system of planetary hours is clean, orderly, and regular, the systems of geomantic hours (as I’ve read them) are either incredibly haphazard, significantly flawed, or corrupted from an original source.  Besides, I haven’t found much use for them that I wouldn’t simply use for the planetary hours and looking outside to see whether it’s daytime or nighttime.  If you’d like to read more, you might look up this post on timing with geomancy that mentions these hours.

“md caduceus symbol tattoo”  — If you’re going to be a doctor of medicine with the highest recognizable degree in the land to show it, you should know better than to use the Wand of Hermes (with two snakes and wings on the top) for your profession.  You want the asclepian, or the Staff of Asclepius, which has one snake and no wings.  You can see my tattoos, one of each, in this post from before.  The caduceus is for speed, messages, trickery, deceit, which is good for commercial health organizations who’re into that.  The asclepian is for health, healing, wholeness, and purity, which is good for doctors, nurses, medics, and anyone who actually helps people.  I would, however, suggest the caduceus in addition to the asclepian if you’re an ambulance driver, in an armed forces, or some sort of field medic where speed is of the essence, but this might be better for a talisman than a tattoo proper.

“lead pencil in orgonite” —  Technically, “lead pencils” use graphite, which is a form of more-or-less pure carbon.  Like lead and unlike some other sources of carbon, however, graphite is inorganic, serving as a metal when working with orgone technology.  The wood surrounding the graphite, as might be expected, is organic; technically the pencil itself can serve as a conductor for orgone due to its combination of organic and inorganic elements, though a weak one on its own.  Pencils have never contained lead, not now nor ever since their development as a tool of writing, but were thought to since graphite is visually similar to lead ore.  In a similar vein, orgonite has never been of use, not now nor ever since their development as glittery robot vomit, but were thought to since fluffy pseudoscientific new-agers want to “heal the earth” without doing any actual work of value.  The pencil is better off being used to fill out forms for helping out with third world countries or disaster victims than being wasted in resin and other trash.

On Kinetic Meditation, or DIY You Lazy Bastards

As some of my readers have noticed, I’ve begun taking commissions for designs and tools over on my Services page.  This is a fantastic opportunity for me, since it helps get me a small cash flow on the side while getting more experience in crafting, and it also helps various occultists and magicians across the globe get tools and supplies they need for their work from these oh-so-learned hands of mine.  However, in starting this, I have learned a few lessons that aren’t that fun: it’s hard to balance commissions with other work and Work going on, and it also brings up the issue of buyer responsibility to both me and themselves.  That latter one is something that’s been gnawing on me as of late, and I’m going to basically institute a new rule for myself on taking commissions.

(Don’t worry; if you’ve already gotten a commission from me, I’m still going to complete it.  All orders already made will be honored, of course, but

So, Fr. Rufus Opus has this idea called “kinetic meditation”, where one does a particular activity as a kind of magical or contemplative act by itself.  In performing that act, one syncs or aligns one’s sphere with that particular activity.  What we might call kinetic meditation in magic might be better described as, well, “practice” in anything more physical or tangible: sports, engineering, cooking, whatever.  In other words, by actually doing the thing, you not only become better at it but start incorporating it into yourself and thinking processes.  A well-trained chef, for instance, can whip up a complex dinner with minimal planning because he intuitively understands what goes together and how to prepare it without much thought, relying on shortcuts and drawn-out procedures alike as needed.  A pro soccer player doesn’t have to plan every action out or check with his teammates; he acts instinctively, reacting as well as and at the same time as acting on the field.   A competent programmer doesn’t always need an API and syntax guide open for a given program, but spews out code that works and works well as if he were writing a Facebook message to his good friends.  This sort of practice builds muscle memory, reflexes, split-second thinking, and a deep intuitive understanding of how things work.  It’s not easy, sure, but it makes things easier given enough time and practice.

Magic and meditation, on the other hand, is far more a mental and spiritual process, and to perform kinetic meditation with this stuff requires something physical.  RO gives examples such as actually drawing out the complete Circle of Art from the Lemegeton Goetia, or drawing by hand the lamens used in conjuration of the angels.  I might suggest (and one which timed up perfectly with my getting my acceptance letter into RO’s classes back in 2011) getting a compass, straightedge, and coloring pencils and drawing out the Tree of Life based on its mathematical properties.  Performing calligraphy with the names of God, singing barbarous words of power, drinking herbal infusions of specific plants to see their effects on the body, all that can be considered kinetic meditation in some way or another.  All this has the effect of helping the magician intuitively and automatically understanding the designs, words, incantations, processes, and supplies used in our ritual.  For magic and meditation, kinetic meditation is the process of aligning ourselves with our Work, and is crucial for any significant level of success.

For me, the process of kinetic meditation started from day 0, when I first saw the Table of Practice design to use.  I studied the design, memorized the components of it, practiced visualizing the Table in my mind until I could hold it indefinitely, learned the Celestial Hebrew script so I could write out the names of the planetary angels, and drew it out many times on scrap pieces of paper for practice.  Later, I got on Adobe Illustrator and produced my own version, after having understood the components and purpose of it and after having studied other associations I could augment or modify it with.  Then I practiced drawing that out, then I got the supplies together and made my own official wooden Table of Practice, which I’ve been using ever since.  Similarly, I did the same with the lamens of the planetary angels, memorizing each one’s sigil and name and how to spell or draw them out, I visualized them with colors, I memorized and intoned the names of God around the lamens, and so forth; then I printed them out, prettied them up, and have used them ever since.  I did the same with my Circle of Art, my Wand(s), and everything else.  It’s exceedingly and increasingly rare for me to just up and use a particular tool nowadays that I haven’t already analyzed, understood, and integrated into my own sphere.

In other words, if I can’t manage a replica of the thing astrally both in form and function down to the minutest detail, and draw it out or make it from memory (with minimal memory refreshing), I don’t consider myself ready to use it yet physically.

Now, that’s what I consider appropriate learning and education in tools in magic.  And yet, here I am offering to make these same tools for others, depriving them of the same joys and frustrations I had, and of all the kinetic meditation I did, that they might be able to have all for themselves with an equal (and minimal) amount of work.  So, here’s the deal from here on out.  If you want set up a commission for a tool, email/pay me and let me know as you already would and do.  I probably won’t turn you down unless I’m busy for the time being or unless I think it’s a terrible idea, for anyone involved.  However, you better know what it is you’re asking for and you better be able to at least conceptually have it ready for yourself in your mind’s eye and astral form.  Don’t get a commission from me because you want “someone who knows what they’re doing” or “someone initiated to do it for me”.  I know what I’m doing because I did the work for myself, not because I had someone else do it for me.  All the initiations I’ve gone through are from the spirits themselves, and they’re all for you as well if you ask and are ready for them, and if you’re not initiated for something you need, you don’t need it anyway.  Ask for a commission if you honestly are unable or don’t have the resources for something, or if you lack the crafting skills to make something you otherwise comprehend and understand for a quality piece of work.

Caveat emptor, my readers.  My tools are not meant for those who want to make things easy on themselves.  My tools are meant for those who want to make their work go farther and harder.