Código en Python puro

SIGIL MAGIC

Probably the greatest contribution to the history of magic in the twentieth century was the development of sigil magic by Austin Osman Spare

(1886-1956),

a British painter, writer, and occultist. Spare, who came from a working-class family, proved his artistic abili­

ties at an early age and received all types of sponsorship along the way, so that by the turn of the nineteenth to the twentieth century, he was regarded as one of the most aspiring English painters. His role in the first World War was as one of two official wartime paint­

ers; his works from this period are still on display today at the Imperial War Museum in London. Later, he claimed to be the founder of surrealism, but official art history ignores him entirely. In the end, this was surely due to his eccentric lifestyle and the fact that he was an outsider, a fact which became evident shortly after the first World War. At that time, he turned his back on

IOI

the conventional art business and spent the rest of his life as a loner, basically disappearing into oblivion.

Spare got involved with magic at an early age, as he himself claims. He made friends with a local witch and clairvoyant named Margaret Patterson, who introduced him to her art. He was also a member of Crowley's Argenteum Astrum (A:.A:.) for a short time, though he never pursued it further. (Later Crowley himself referred to Spare unfavorably as a "black brother.") Sig­

mund Freud's theories had a great impact on Spare's magic, and with good reason: Spare can be considered a progenitor of the psychological magic of the twentieth century. I'd like to examine Freud's influence on Spare's work a bit further here since it clearly reflects the early developmental stages of modern money magic.

Freud's discovery back then is common knowl­

edge today-the fact that many human behavioral patterns are not based on conscious decisions or bio­

logical reflexes, as was believed up to that point. In his theories about the unconscious mind, he designated the lion's share of psychological dynamics to be located in an area of the brain that remains stubbornly hidden from waking consciousness, yet nonetheless has a tre­

mendous effect on our conscious behavior. Spare took Freud's theory one step further by stating his convic­

tion that the unconscious mind has magical powers at its disposal which man can tap into using magical tech­

niques.

!02 CHAPTER THREE

Another influential aspect of ory of repression. This basic

compulsive behavior," he ^· possible to utilize this

magical powers of the

intentionally repressing things ^to effect." While Freud views this something undesirable that all costs, Spare wanted to make achieving specific goals. And ment of Spare's magic has beea generations (mainly because he!

and often expressed it in vague least documented his concept of detailed manner. It doesn't modern magic has recognized his nothing short of sheer brilliance..

As a passionate painter who automatic writing long before considered it a given that which filters and prevents

art business and spent the rest of his

basically

disappearing into oblivion.

imulved with magic at an early age, as he He made friends with a local witch and Margaret Patterson, who introduced He ^was also a member of Crowley's

(A:.A:.)

for a short time, though it further. (Later Crowley himself unfavorably as a "black brother.") Sig­

theories had a great impact on Spare's good reason: Spare can be considered a the psychological magic of the twentieth

to examine Freud's influence on Spare's here since it clearly reflects the early

, stages

of modern money magic.

very back then is common knowl­

e fact that many human behavioral based on conscious decisions or bio­

as was believed up to that point. In his the unconscious mind, he designated of psychological dynamics to be located brain that remains stubbornly hidden

· ousness, yet nonetheless has a tre­

on our conscious behavior. Spare took one step further by stating his convic­

nscious mind has magical powers at man can tap into using magical

tech-Another influential aspect of Freud's was his the­

ory of repression. This basically says that repressed traumatic events remain active and effective in the unconscious mind, which can lead to otherwise unex­

plainable, irrational, compulsive behavior and neurosis.

Thus the main concern of Freudian psychoanalysis is to bring this repressed material (complexes) to the sur­

face of the conscious mind, which neutralizes it.

Spare took this idea one step further. "If repressed material that is created unintentionally can lead to compulsive behavior," he theorized, "it must also be possible to utilize this mechanism for tapping into the magical powers of the unconscious mind by means of intentionally repressing things to bring about a desired effect." While Freud views this repressed material as something undesirable that needs to be neutralized at all costs, Spare wanted to make magical use of it for achieving specific goals. And while only a small frag­

ment of Spare's magic has been preserved for future generations (mainly because he kept it to himself and often expressed it in vague insinuations), he at least documented his concept of sigil magic in a fairly detailed manner. It doesn't come as a surprise that modern magic has recognized his small contribution as nothing short of sheer brilliance.

As a passionate painter who experimented with automatic writing long before the surrealists did, Spare considered it a given that Freud's postulated censor­

which filters and prevents any kind of communication

SIGIL MAGIC • !03

between the conscious and unconscious minds-can be bypassed via pictorial symbols. Sigil magic is based on process of making such symbols.

In contrast to the traditional magic prior to his time, Spare didn't employ a fixed system of magical signs and symbols containing specific powers. In this aspect, Spare is quite the modern man, obliged to indi­

vidualism and accepting of the fact that in the end, it's always the individual in and through whom the inher­

ent laws of magic have to manifest.

Spare radically breaks with tradition in another respect: despite the fact that his sigils are designed individually, they are not of a lasting nature. They are unique pieces of art that are created for one-time use only; thus their power does not derive from their sys­

tematic, repeated use or a collective lineage of tradition.

With Spare's system, there is no such thing as fixed formulas or ritual structures-in fact, ritual doesn't play any role whatsoever. In the same sense, his magic doesn't make use of magical weapons or make reference to classical authors or texts; in fact, there is no mention at all of any formal groups or societies.

At a time during which the great change of direc­

tion toward political and social collectivism was begin­

ning to take place {later manifested in the totalitar­

ian systems communism and fascism/Nazism), such a radical, individualist approach was considered quite strange. Spare's magical contemporaries were certainly not exempt from negative stereotyping either. In fact, it

!04 CHAPTER THREE

took until the 1970s before Spare's ered and acknowledged on a larger ent aspects of his work ultimately chaos magic, itself developing in time.

Sigil is a word previously unknown man language. Its more familiar as seal or signet; I introduced the to the German language exclusively magical sigils. This should help sion, especially in contexts of metic magic texts when they refer the symbolic representation of a intent depicted in pictorial

or

design, the sigil is then charged. ^or activated so it can unfold its power.

There are various methods

for

In the following pages, I'd like to method. With this method, des·

begins with the formulating of a intent. Spare himself only gives the knowledge of the environment which was influenced

predecessor to positive thinking), few conclusions. In practice, these ally prove to be quite correct.

Therefore, your statement be worded positively, otherwise

:ro-and unconscious minds-can be symbols. Sigil magic is based on

symbols.

the

traditional

magic prior to his

anploy

a fixed system of magical mntaining specific powers. In this the modem man, obliged to indi­

of

the fact that in the end, it's in and through whom the inher­

to

manifest.

breaks with tradition in another fact that his sigils are designed

not of

a lasting nature. They are

that

are created for one-time use does not derive from their sys­

or a collective lineage of tradition.

, there is no such thing as fixed structures-in fact, ritual doesn't

or texts; in fact, there is no mention groups or societies.

which the great change of direc­

and social collectivism was begin­

{later

manifested in the

totalitar-approach was considered quite

·cal contemporaries were certainly stereotyping either. In fact, it

took until the 1970s before Spare's work was rediscov­

ered and acknowledged on a larger scale; many differ­

ent aspects of his work ultimately found expression in chaos magic, itself developing in Great Britain at that time.

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