What follows, is an article that I found interesting. I would though. I'm into clandestine street art with purpose. I have spoken to the author a couple/few times and while we have little in common, we learned from one another. The applications for this sort of thing are endless. Has anyone here ever tried this?
Chaos Graffiti
By: Bood Samel
Two of my main interests in life are graffiti, and the practice of
ceremonial magick. It wasn’t long after I started stumbling my way into
magick, that I started to notice simularities, and parallels between the
acts of caring out ceremonial magick, and going out and doing graffiti.
Both are self-intitiatory processes that transmute how we consciously
interact with the world around us. When one picks up the bulky marker, or
can of paint , and sets it against the drollness of modern homogenized
landscapes, some thing changes in the mind of the implementor. Suddenly
the world becomes a much more fantastic place. Seemingly bland urban
landscapes become the playground of a hidden illicit art world. Everything
becomes vast, and inspiring, while at the same time personalized. Blurred
lines scrawled clandestinely all over the place become sigil gateways into
a hidden, yet omnipresent world. Yet its experience shows us that the
drive towards the rapture of the fantastic belongs at our disposal, and in
our individual control. Like magick, graffiti is all around us, yet hardly
noticed by those not involved it. It already is a form of the occult in
the literal sense,-hidden knowledge-, and like all hidden knowledge its
experience and understanding is only available to the initiated.
Graffiti is a hidden art, done clandestinely by individuals or groups, who
in part more or less form a secret society. How many graffiti crew names
are three letter acronyms akin to various occult groups- the OT.O., the
I.O.T., the E.O.D., ,etc.
The implementing of graffiti involves a process of making our surroundings
conform in coordinance to will. It involves an evocation of dynamic,
creative praxis upon various spaces/surfaces that in turn blurs the
boundaries between the mundane and the fantastic imposed by western
consumer anti-culture. “EVERY NUMBER IS INFINITE; THERE IS NO
DIFFERENCE!”. Very well indeed, and graffiti brings this realization into
further precedence. Graf/magick seeks to bring this to the forefront of
our local. Its not magick done in the ambiguous space of some wholly
mental ”astral plane”, but in our immediate environment.
Graffiti is a localized network of information exchange. Its information
is itself, and its intent is so simple as to astound. It shows us that we
only choose to be alienated from our surroundings and modern landscapes.
It shows us that we still have the capacity for intimate, personal
interaction with our surroundings, even if they are “unnatural”.
Everything that exists, exists in nature-there is no being outside of it.
There is no getting back to nature, you never left, nor could you. Our
environment still shows us a great dynamic of experience, and process
regardless of how many Mcdonalds tm we build to distract ourselves from
the magnitude of what we are capable of experiencing.
The outcome of caring out graffiti changes how one consciously conceives
notions of space, property, and environment. These changes allow for a
vantage point of interactive personalization of typically bleak ,
dehumanized, alienating modern landscapes. For the magickian this opens up
a whole new realm to exploit and work with. Modern landscapes are only
depersonalized if you choose not to interact with them. “The flow of
things” so to speak, is still present in man made environments , and is
still exploitable. Perhaps even more so do to the close proximity of
people and their routines when in an urban environment.
If you live in a city you develop a routine which causes you to come
across the same people, and go by the same places. Change your schedule,
and pasterns will still emerge. Synchroncities abound to a bewildering
extent in an urban environment. Constantly omnipresent amongst all this
continual convergence of circumstance is graffiti. People often mix their
magickal practices with their art. For more horizontal, “results” magick,
graffiti seems like the most logical art form to implement will through,
as its already an art form that causes our environments to conform to
will, and is so firmly entrenched in our surroundings. In a city graffiti
comes, and goes. Its constantly shifting,and changing. Some fades away,
wheat pasted flyers get ripped down, walls get buffed, but more pops back
up. Its very existence is fractal, its the stuff of chaos.
Hijacking graffiti for magickal results further mutates how the mind
interacts and preserves modern landscapes. Alleyways as temples; dumpsters
as alters;mercury racing his message along graff-sigil encrusted telephone
poles; buses become the chariots of the gods; subway tunnels and the
undersides of bridges become the subbteranian depths of cthonic realms.
There are places in our time that “decent folk” avoid , or are oblivious
to. Ghettos, undersides of bridges, (post) industrial wastelands, alleys,
vacant lots, abandoned buildings, train tracks, train bridges, aqua ducts,
steam tunnels, sewage drains, etc. These cracks in Babylon unfit for, and
forgotten by the consumer god are shrines of its inversion, the new
antinomianism. This places are epicenters of “illicit”, unsupervised
freedom- getting wasted, clandestine events, fucking, sleeping, squatting,
graffiti and merely hanging out in a place unrelated to commerce (a “sin”
in itself) that isn’t some trite regulated, allotted park. In our era
without _TERRA INGOGNITA_ (land unknown), these places become our secret
valleys, our new Atlantis, our new Alamuts.
Sigils and servitors seem to be the two key magickal techniques that lend
themselves well to graff/magick. Tag sigils around places prior to
charging them. Go to your local printer and make a stack of sigil
stickers. Try making a tag at of rearranging the letters in a statement of
intent, then put it up every where prior to charging it. Paint the word
into a huge elaborate graffiti style painting to disassociate yourself
from its original intent. Now your will will manifest from multiple points
of probability.
Take location of works of graf/magick into account with the probability of
your ritual work. Play the law of averages and fields of probability into
your favor as much as possible. Always decrease the room of chance working
against you.
Use graffiti paintings as the material basis of servitors. Try programming
into the servitor that its to live as long as the painting is up, then
paint in a spot that you know will get buffed in a few weeks if you are
concerned about its disposal. Draw a picture of a servitor as its material
basis, then make a stack of photocopies to wheat paste everywhere. Create
servitors in these methods who are intended to function virally or
vampiricly. Create tags to exist as viral mimetic servitors to in act your
intent through those they come across and infect. Create an art campaign
of terror against your enemies in the form of a vampiric servitor that is
to feed off of their fear and panic.
There's a great deal of room for exploration in these ideas, and the few
presented here are only the tip of the ice berg of what could be done.
It has been my personal practice to put stuff up first, and then go do the
workings, but this has been a matter of personal prefrence. I also attempt
to avoid those areas for a bit when at all possible. Try video taping your
graff/magick art work, then performing the rituals necessary from the view
of a TV screen as to disassociate oneself from lust for results. This
technique as devised by T.O.P.Y. lends itself well to graf/magick.
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