The Man We Want to Hang
Kenneth Anger, USA, 2002, 12 min
… The Man We Want To Hang, (which) comprised images of Aleister Crowley’s paintings that had been exhibited at a temporary exhibition in Bloomsbury, London…
Applied Magic(k): Sigils, Logos and Lucky Charms by The Center for Tactical Magic
Originally published in Arthur No. 23 (June 2006, available here)
One of the first lessons of magic(k) that we learn as children is that words and symbols have power. Abracadabra. Hocus Pocus. A five-pointed star. A four-leaf clover. As we get older, this primary notion quickly degrades and often becomes the source of one of the first dismissive tendencies towards magic(k) that arises amongst adults. Too many hokey movies and failed attempts to levitate with an utterance conspire against us. Soon the lesson is forgotten; magic(k) words and the power of symbols sneak away to party with Santa and the tooth fairy.
But words and symbols continue to work their magic(k) regardless of whether or not we believe in them. Look at the recent outcry against Madonna singing from the cross or riots in response to Mohammed cartoons and we begin to see that the power of symbols is anything but make-believe. For those who insist that religious sensitivities are an easy shot, consider this secular example: For over 150 years the United States had a Department of War. During much of that time U.S. foreign policy consisted of “neutrality” and therefore the DoW did not lend any direct military support in foreign conflicts. World War II put a definitive end on U.S. neutrality once and for all, and in 1947 the DoW was renamed the “National Military Establishment” or NME (pronounced “enemy”). Realizing the error of their acronym, politicians again changed the name in 1949 to what we know today as the “Department of Defense.” More than half a century after “war” became “defense” the DoD sits deep within the Pentagon planning “pre-emptive defensive strikes” while waving a flag with 50 pentagrams on it.
Okay, so spin-doctoring isn’t exactly the same thing as witch-doctoring. Still, most performing magicians (conjurers) won’t deny the power of language. And few will debate the fact that word choice makes a difference when presenting a trick. Many will even insist that the “patter” makes or breaks the illusion. More to the point, the strength and efficacy of a trick is often closely tied to the audience’s ability to relate both specifically and abstractly to the overall illusion. This is precisely why magic with money tends to hold people’s attention more than tricks with handkerchiefs. Money is already a loaded symbol, whereas how many people revere a silk hanky? If you still maintain your doubts, try first performing card tricks over lunch and then later in the middle of a poker game. Any guesses on which audience gets more riled up when you magically produce four aces from up your sleeve?
Admittedly, the ability to make a scrap of green paper covered in Masonic symbols disappear doesn’t quite live up to our childhood expectations of magic(k). Perhaps this is especially true because we become adept at making dollars disappear all the time. As we grow older, we become initiated into the Church of Consumerism. It is here that we become increasingly distrustful of anything “magical” since we quickly find the mystique tarnished by a barrage of commodities gilded in glitz. Yesteryear’s potions, spells, and apparatuses are hawked as today’s energy drinks, pharmaceuticals, and hi-tech gizmos. Finding ourselves surrounded by “magic” cleaning supplies, “power” tools, and Lucky Charms, it’s easy to concede that there’s no such thing as “real” magic(k). Yet, ironically this is where some of the oldest forms of magic(k) still thrive today.
Emblazoned on nearly every product, within every corporation, and tied to commodities strewn across the globe one finds logos. We tend to ignore them; or at least we think we do. However, too much consideration goes into the creation of an effective logo to be ignored. Beyond mere aesthetics, a logo is designed to perform a particular function quite similar to that of a magical sigil. Specifically, the fundamentals of logo design stress three distinct phases of association: 1) contextual or relative association; 2) direct or habitual association; and 3) autonomic or hypnotic association. In contextual or relative association the logo appears in the same context as the product. Thus, the consumer understands that there is a relationship between the logo and the product, thereby making it easier for the consumer to locate an identical or similar product in the future by seeking out the logo (i.e. look for the golden arches and find the freedom fries). In the second phase, direct or habitual association, the logo increases its scope of influence. Through repeated exposure to the logo, the consumer begins to identify directly with the logo and no longer differentiates between the logo and the product represented by the logo. The logo has become a direct stand-in for the product itself. Through force of habit the logo now represents a standard (albeit an irrational one not often governed by actual quality) by which all other similar products are measured and found lacking. (i.e. why do you favor one brand of electronics over a brand you have never heard of or seen before? And, why is it “cool” to wear the logo of that company on your t-shirt?).
And finally, there is autonomic or hypnotic association. Like Pavlov’s dogs who began to salivate at the sound of the dinner bell, the consumer who has reached a state of hypnotic association will begin to physically manifest a desire for the product upon merely seeing the associated logo. In such cases, the consumer’s willingness to act on this irrational desire happens because s/he has not only come to associate the logo with the product but also with the feeling(s) s/he’s attached to the product (status, sex appeal, satiety, power, success, etc). Even a momentary, peripheral glimpse of the logo may be enough to make the consumer hunger for the product and act towards quenching the thirst of an irrational desire. To the consumer, the impulse will seem completely logical, and s/he may not even be consciously aware of having seen the logo only moments before.
As we lift our gaze out of the marketing primers and PR manuals and flip through the pages of grimoires and spell books [and in the interview with Grant Morrison in Arthur No. 12—Ed.], we begin to see the magic(k) ties that bind logos and sigils. Sigils have been used for thousands of years, but the contemporary use of sigils in ritual magick owes a great debt to the early 20th century artist and occultist, Austin Osman Spare. In its traditional form, a sigil is basically an abstract mark or symbol that is magically charged through a process of association with one’s desires. By reducing an idea to a single design, the concept is mentally planted in a non-linguistic manner and left to blossom over time. This magical seed can be further fertilized by focusing on the design (not the idea represented by the design) during a heightened state of arousal (pleasure, pain, excitement, exhaustion, fear, ecstasy, etc.). A.O. Spare recommends using your orgasm to charge the sigil.
Essentially a meditative tool used to focus one’s conscious and subconscious attentions towards manifesting a specific result, a sigil can be made by anyone for any reason. The sigil has no power of its own, and means nothing to those who have no associations with it. However, a sigil that is unleashed and gains popular recognition can maintain a power that is both subjective and collective. Although Madison Avenue mages now refer to spells, incantation and sigils as slogans, jingles, and logos the effects are just as powerful as ever.
Authority commonly wields power through the manipulation of sign systems which individuals are collectively programmed to accept as valid structures of discipline and control. Fortunately, magic(k) is an open-source technology that doesn’t exclusively belong to advertising execs and policy-makers. Outlined below is a sequence of actions that will effectively illustrate the aforementioned dynamics. Further, the following sequence of actions also serves as a general spell for revealing that “authority” is a subjective force, and that victory is awarded to those who play the ‘Sign Game’ best. While strict adherence to the spell will often yield successful results, an accurate understanding of the underlying principles will allow for delightful adaptations and diverse applications. Have fun & Good luck! And please let us know of your results by emailing us at: goodluck at tacticalmagic dot org
POWER TRANSPOSITION SPELL
or
How to Subvert Institutional Authority through Graffiti and Other Tactics in 13 Steps
1. Choose an institutional target (school, corporation, government agency, town, etc)
2. Create a small label (approx. 3” x 4”) which includes the institution’s seal or logo, as well as the words: Signs or Graffiti Permitted on This Surface (or an appropriate variation of your choosing).
3. Affix the labels to various surfaces within the institution. At first, it is best to target surfaces that have existing postings or writing (e.g. bulletin boards, bathroom walls, pay phones, etc).
4. Begin responding to your own labels by covertly adding signs, postings, and graffiti. Be sure to vary the content and use multiple scripts or different graphic elements. Some gestures, tags, or styles should appear more prolific than others so as to convince the “authorities” that multiple individuals are responding to the labels in no organized fashion.
5. On institutional letterhead, create your own notice harshly condemning the labels, the postings, and the writings. The notice should be brief, but the tone should sound severe and reactionary. Citing non-existent laws or rules that promise extreme penalties should be included to encourage debate. Mis-spelling a key word or two will aid in undermining the voice of Authority, as well as give the impression that Authority is, in fact, a small group of controlling individuals that assert their will on the greater community.
6. Before the institution can respond to the postings and graffiti, covertly distribute this notice as widely as possible. Post it in areas where no previous postings have appeared as well as in the most obvious places. Place notices in employee/student mailboxes, on the windshields of parked cars, or in luchrooms and other meeting areas. The distribution of this notice should appear obsessive/compulsive.
7. Replace any labels that have since been removed and continue to add graffiti and postings. At this point some graffiti/postings should be direct responses to the “institutional notice.” Some responses should sound incensed, while others should appear mocking. Most likely, other anonymous individuals will have joined in at this point and the debate should be widening.
8. Locate a blank section of wall, or an area where graffiti has been allowed to persist. Using a slightly off-color shade of paint, cover a large, uneven section of the wall. Affix a sign alongside reading, “Wet Paint” and another stating that “any graffiti which does not beautify the area will not be tolerated). This will give the impression that the Authorities are ineptly attempting to cover the graffiti, while simultaneously giving a nod to “acts of beauty.”
9. Create a second notice stating that employees/students/community-members may be subject to random searches for graffiti paraphernalia. Distribute it widely. Additionally, signs should be posted declaring rewards for reporting graffiti as well as phone numbers to call (police, management, etc).
10. Continue to add graffiti and postings, but extend the range outside of the proximity of the labels.
11. If the debate has become heated enough at this point, create another notice/email in the “voice of Authority” declaring a “town hall” meeting with attendance required. Be sure to include a sentence indicating that food and beverages will be provided (You may even want to place a large order for pizzas to be delivered). The date of the meeting should give the “authorities” as little time to prepare as possible.
A note on the workplace: If the target institution is the workplace, then give consideration to the scheduling time. A lunch-hour meeting will impose on co-workers and encourage opposition to the institution. A mid-afternoon or mid-morning meeting will result in a period of unproductivity that will provide a much-deserved break for your co-workers. An after-work meeting time should include a promise of overtime wage compensation for all attendees.
12. Have fun at the meeting, but be careful not to take sides in a manner that will draw attention to you. At most, make constructive suggestions or offer compromises such as calling for more communal space or resources (a community center, lounge, or project funding), asking for more community dialogue or representation (push for shared power and self-management), or requesting conditions that are less restrictive/oppressive (more time off, less rules or better use of community funds). Or, just sit back and watch the fireworks.
13. If events haven’t climaxed by this point, create a final notice summarizing the institution’s willingness to respond to concerns raised at the meeting. Declare new policies and promises; be sure to be creative about your desires (designated graffiti/posting zones, slackening of rules or restrictions, school/business holidays, etc.). At this point you and your community are the authorities, so start acting like it by making the necessary changes and organizing for a better tomorrow!
Applied Magic(k): Donut Power by The Center for Tactical Magic
Originally published in Arthur No. 22 (April 2006, available here)
Although people often associate the word “occult” with secret magical orders, demon-worshipers and ancient alchemical scrawlings, its root definition is simply “secret, concealed, or hidden.” But strangely enough, “occult” is rarely associated with those who are perhaps most invested in secrets and concealments: that is, government, military, corporations and even performing magicians. Perhaps this popular tendency to view “occultism” through an anachronistic mist is ultimately a concealment of its own accord.
If we regard an occult force as “that which is hidden,” it should come as no surprise to realize that we are constantly surrounded by the occult. Everywhere we look we don’t see it… at least not at first. Otherwise it wouldn’t be occult; it would be obvious and apparent. Unseen forces are indeed at play all around us. We often fail to recognize their presence for any number of reasons: the forces may seem insignificant to the situation, we are distracted by other factors, etc. Whether one favors ritual magick or performing magic, the first challenge is to recognize which forces are present, hidden or otherwise.
Fortunately, occult forces sometimes have a funny way of revealing themselves. In 2001, members of The Center for Tactical Magic were enjoying a leisurely tromp through downtown San Francisco with a few thousand other people protesting the 21st Century’s first major display of government occultism: George W. Bush’s inauguration. At the end of the trolley line at Powell and Market, the march lost momentum and gradually slowed to a jiggle. Some protesters scurried into cafes to get their latte fixes while others started break-dancing to boom boxes in the streets. Meanwhile, riot police began to huddle in the doorways of the GAP. There were other big department stores and icons of global capitalism nearby, but for reasons unknown the GAP seemed to be getting the bulk of police attention. (Perhaps it was one of those rare instances where Power reveals itself, as if the cops were hinting, “You’re already gathered to fight injustice, you might as well protest conformist fashion produced by sweatshop labor, too.”) At first, no one seemed to care, except possibly the few shoppers who hurried away at the first signs (namely, armored cops) that something might be amiss. Gradually though, activists seemed to take to the idea, and soon a small group settled down at the feet of the police line to sip their lattes and eat their lunches…
Read the full article here.
Applied Magic(k): Adult Witchcraft by The Center for Tactical Magic
Originally published in Arthur No. 21 (Feb 2006, available here)
Like “art,” the word “magic” can be very confusing for people. It simultaneously conjures notions of trickery, witchcraft, illusion, mysticism, fantasy, and a vast array of products, services, and popular culture references. Many of these notions evoke a dismissive response from people when they encounter the term, partly because they tend to immediately latch onto a single notion of magic that they reproach—cheesy Las Vegas sideshow; dreadlocked Wiccan hippy; Dungeons & Dragons wannabe; Satanic drug fiend; pet psychic; reality escapist; and so forth. Of course, by conjuring such characters as Gandalf, Harry Potter, Sabrina and John Edwards, popular media does its best to fantasize, infantalize, and capitalize on our collective desires for more than another sequel to “Life as We’re Told It Is.” The Center for Tactical Magic does not exclusively align itself with any one interpretation of “magic”, in part, because the vastness of the interpretations of “magic” is what gives magic its power in the world of meaning. Therefore this column is likely to exploit many of your preconceptions of magic(k) in an effort to dislodge your comfortable sensibilities.
In nearly all of the permutations of magic(k), the conventions of presenting information are completely fucked with. A stage magic trick is a good example on many levels. For starters, a magician often uses “patter” or a story to provide a context for the audience’s experience of the illusion: “Ladies and Gents, as a special treat for you tonight, I’m going to make the president disappear. Now before anyone gets too excited, it’s an already dead president—Andrew Jackson on the twenty dollar bill—our racist, Indian-killer president.” In the patter, the magician may or may not lie, but the intention is always to manipulate the audience’s perceptions. This is done easily enough because the information presented in the form of patter appears to coincide with the visual information presented through the magician’s movements and use of props. (Andrew Jackson does appear on the twenty dollar bill; however, historians debate whether or not he killed more Native Americans then some of our other racist presidents. And the $20 in the magician’s hands will disappear… from view, but not likely from material existence since s/he needs it for rent). And of course, the magician’s movements are deceptively “natural” in appearance: a well-placed cough or a hand on the hip doesn’t generally attract attention. Similarly, the props are shown to be beyond suspicion: an audience member inspects the bill; the magician’s clothing looks normal enough; the hands are shown to be empty; etc. If performed successfully, a good magic trick will have a convincing effect largely because the magician has presented several forms of discordant information in a harmonious manner. The verbal info, the body language, the sequence of events, and the overall physical appearance conform to the audience’s expectations of normalcy (i.e. the magician used a hidden gimmick to ditch the bill half way through the performance, yet kept a closed hand in plain view while continuing to discuss the merits of vanishing racist presidents). When the magician finally opens the fist to reveal not a twenty but a handful of pretzels the audience will attempt to bridge the gap between what they believe they have witnessed and what they formerly believed was possible.
In the Western traditions of ritual magic(k) and occult practices there is often a “lust for results” that demands linearity in the form of cause-and-effect. In such cases, practitioners become ill at ease when they summon a demon to defeat racist presidents and no one shows up to take the job. That said, nearly every other expression of magic across the globe regards the magical act as a liminal space that appears during the performance. This is a zone of transformation; a place where the rules of everyday life are suspended and alternative realities can trickle in. In some cases, a shaman will perform a conjuring trick as a way of illustrating the zone of transformation. Thus, it is not the “trick” which is magic, but the performance/perception. The tricks are part of a performance that leads the audience to a mental state where the real magic can take place: the shift occurs in the perception of the audience rather than in the hands of the shaman. The best stage magicians also recognize this dynamic among their own audiences and perform accordingly by designing and performing illusions and/or rituals that are relevant to people’s lives: Houdini emphasized self-liberation from the constraints of everyday life, such as prisons, handcuffs, safes, ropes and packing crates. Likewise, Cagliostro defied the strict 18th-century norms of society by allowing both men and women, aristocracy and commoners, to join a vast European network of Egyptian Masonry and partake in rites not likely described as modest even by today’s standards.
One goal of the following exercises is to create this meaningful shift in consciousness; to locate and inhabit this secret pocket. The shift may be immediate or in the form of a mental time-bomb. You can treat these magic exercises as experiments, interventions and alternative forms of entertainment. Have fun & good luck, and please let us know how it was for you by emailing to goodluck@tacticalmagic.org
EXERCISES IN MAGICAL THINKING, ANALYZING POWER, AND ACTIVATING HIDDEN FORCE…S
1) Plant three seeds of a vegetable plant of your choosing. Label each container respectively: positive, negative & control. Provide each plant with equal amounts of water, soil, and sun. Dedicate at least six minutes of each day (three minutes per plant—positive & negative only) on focusing positive & negative thoughts. Record your results and enjoy the fruits (vegetables) of your labor.
*This is an exercise in developing your telepathic abilities, exploring modes of unregulated communication, collaborating with non-humans, and bringing your thoughts and desires to fruition.
2) Write your own survey to elicit responses from other members of the general public. You may decide to pose questions, ask opinions, or provoke thought. Then, conduct the survey for at least three hours in a public space of your choosing, or until the “authorities” inform you that you are trespassing on public property.
*This is an exercise in activating public space, determining the limits of public space, and generating a non-commercial exchange of ideas among strangers. Most people are happy to express their opinions when asked, especially when they are informed that their participation does not involve a sales pitch, future mailings, religious conversion or product development.
3) Get a rope (at least 30 feet) and a friend (or a friendly stranger). Take turns tying each other up and escaping.
*This is an exercise that explores restriction, control, and self-liberation. You’ll be amazed to find how easily one can liberate oneself!
4) Get a group of friends together at night and find a public space to beautify as you see fit. Consider the site beforehand and plan your action thoroughly (but don’t bring along any evidence of your conspiring). Your materials should not be cumbersome, or they should be well-disguised. While some friends are in the act of beautifying, others should be posted on the lookout for “authorities” since they might not have the same sense of aesthetic appreciation as you and your friends. (If they don’t like it, they can make their own art!) If you decide to document your actions, it’s best to do it at a later time, and be sure that none of your friends’ faces are visible.
*This is an exercise in collaborative acts of meditation, willful engagement, and material transformation. You can do this in the daytime too, but nocturnal operations tend to be more mirthful and help induce perceptual shifts (both spatially and experientially).
5) Create a disguise for yourself that allows you to navigate everyday life without drawing much attention. This should be different from your normal attire. Spend the day in disguise performing leisurely or mildly adventuresome activities. Possibilities include:
a) Choose someone at random and follow them from a distance for at least 15 minutes. Then follow someone else. When you grow tired of following people, find someone who looks lost and try leading them to their destination.
b) Visit a factory or place of industry and ask for a tour. Ask lots of provocative questions, and then ask for a job. Tell them you can’t do much, but you’re interested in something at the executive level.
c) Go to at least three different places of worship. Check out the interior design. Explore a little. If someone is in attendance, strike up a conversation about the “afterlife” or “special religious foods.”
d) Go to a bank with your video camera and begin recording the bank interior. When the security guard or branch manager stops you and asks what you think you’re doing, explain that you’re trying to determine how many security cameras they have installed. If they ask “why?” tell them you’re “just doing research” or “conducting a survey of banks” or “interested in security.” Then say, “If you really want to be helpful, you can just tell me how many cameras you have and save me and the boys’ the trouble of watching this recording later and trying to count ‘em all.”
*This is an exercise in shape shifting, personal transformation, and casting illusions, as well as observing how “authorities” respond to subtle challenges beyond the status quo. The disguise will help empower you to act “out of character;” besides, if you can’t change yourself how do you expect to change the reality around you?
The Center for Tactical Magic is a moderate international think tank dedicated to the research, development and deployment of all types of magic in the service of positive social transformation. To find out more, check out tacticalmagic.org.
‘People who spell magic with a ‘k’—aren’t’ – Anton Szandor LaVey