Prime Chaos: Adventures in Chaos Magic by Phil Hine

Author:Phil Hine [Hine, Phil]
Language: eng
Format: epub, pdf
Publisher: The Original Falcon Press
Published: 2012-06-30T21:00:00+00:00

INVOCATION

Invocation basically involves calling upon an entity and thereby identifying oneself with it, to the level that one apparently merges with it. This technique can have profound effects, both emotionally and physically, and like any other powerful magical technique, it can be tricky if not given due care and attention.

Why Invoke?

For what reason might one desire to bring a Goddess, God, or other mythic entity into oneself? The multiple entities found within polytheistic and pantheistic systems each encapsulate different attributes and qualities. Thus one might desire to invoke Baphomet for inspiration, Pan for ecstasy and heightened sexual arousal, one of the Nornir, for knowledge of the future, Ra-Hoor-Khuit to give a ‘hawk’s-eye view’ of a situation, or Kali, to consume some aspect of self which one wishes to loosen from one’s ego-complex. Through invocation, one might make modifications to one’s selves, seek inspiration, or specific knowledge about a certain event or item; develop powers of heightened perception or feel oneself to be charged with power which can be used for further magical tasks.

Invocations tend to result in an ecstatic state, whereby the recipient is so passionately swept up into trance, that some quality or attribution associated with that entity manifests in the person, such as enhanced oracular perception or knowledge of hidden lore. While this ability may be developed by anyone who practises magic, most people don’t do it, and thus a magical practitioner may be asked to act as the incarnation of a particular entity as part of an event, or to bring about a similar experience in another person—‘invoking upon someone,’ as it is known.

Invocation serves to heighten dramatic awareness to the extent that the magician, who is identifying (or being identified as) with the mythic figure in question, gains both access to abilities associated with that figure, and temporarily is able to perform acts beyond his or her normal capacities. Actors often report a similar experience of becoming so caught up in characters they are portraying, that they find they can sing, dance or perform feats of agility which, while appropriate for those particular characters, are beyond their own normal range of ability. It seems that, given appropriate conditions, we are capable of much more than we usually allow ourselves.

Designing Invocations

Source books of Magic abound with examples of invocations, but, for now, it is the processes underlying invocations which are to be considered. Firstly, it is essential to build up a framework of symbols which can be employed to focus awareness onto the subject of the invocation. This is where the symbolic media and tables of correspondences mentioned earlier come in useful. If for example, a magician wished to invoke Star Trek’s Mr. Spock, then the first thing to do would be to research Spock’s mannerisms, gestures, posture and Vulcan inscrutability, and adopt these as part of the ritual. As a further aid, a pathworking could be devised based around the image of Spock walking through the corridors of the USS Enterprise, until the magician felt sufficiently

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