Recently I was visiting Long Beach, Washington and while I was there I ended up visiting another site for the Confluence Project. Turns out that Long Beach was actually the first site consecrated for the project and what was fascinating to me was that you could see 5 different parts of the project. There was a board walk with writing on it about the geographic and historical dates for the Lewis and Clark trail, an amphitheater, a fish cleaning table and a view point. And all of those places were intriguing but the one which really spoke to me was the Cedar Grove Circle.
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On the second day of my spiritual pilgrimage to the confluence project sites I drove into Oregon and toward home, because the sites actually led back that way. The first site I visited was Celillo Park. It's currently the only site where the project hasn't been installed, but I wanted to go there anyway. It used to be underwater, because of the falls that had been there. It was supposed to be a protected fishing site for the Native Americans But in the 1950's the U.S. government built dams, which changed the Columbia and silenced the falls.
...On the first day of my spiritual pilgrimmage, I drove out to the chief Timothy Park. It's the one site which most resembles what Lewis and Clark saw on their journey to explore the west. It's also the beginning of the confluence project. When I got there, I walked this path to site of the confluence project memorial, which is this place where 6 stone layers are set into the land, with writing that describes the significance of the site as well as the ritual done to commemorate the site.
...Ever since I was a kid, I’ve always craved recognition. It’s not a surprise really. I grew up in a situation where the majority of attention I got was negative. I’d get grounded on the drop of a coin, or was told I was a disappointment on a regular basis and no matter what I did, it was never enough. That was the seed for my desire to be recognized.
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Greetings. Great article. I also have done many things because of recognition, and I realize now that it is because I am jealous
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It sounds like you had a good realization. Thank you for sharing with me.
The work I'm currently doing in my spiritual practice is a process of memorization. On the surface, it just seems like the memorization of words, but the words are a pathway to the deeper wordless truths that can only be experienced when you open yourself to what the words represent. What I'm really doing with the memorization is twofold.
First, I am connecting with the forces, spirits, etc., that are represented by the words. The words present a means to connect with those spirits in order to develop relationships and create associations that allow you to do deeper work with them. The words are the introduction to the spiritual current that is embodied and mediated by the spirits I'm working with.
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Taylor, do you only do memorization of words that you plan on using in chants/rituals--or to also have a deeper connection/relatio
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Hi Janet, It can be for both and I've used it for both. I figure developing a chant for a spirit can just as easily be integrated
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Fascinating! Now, your post is called "Mediation, Memory and Flow". Is that correct...or was it supposed to be "Meditation" (as in
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Nope the word choice of Mediation was purposeful.
Over the last few years the use of pop culture in magickal practices has grown by leaps and bounds. As pop culture magick practices grow, becoming more widely accepted and practiced, so does the the need for more cohesive systems for sharing and deepening those practices. In Pop Culture Systems: How to Create Your Own Pop Culture Magic System, Taylor Ellwood outlines some of the many ways that a practitioner can draw upon pop culture to create a coherent and powerful magickal system.
Pop Culture Systems aims to help the experienced practitioner take disparate one-off pop culture practices in a particular pop culture universe and combine them to create a fully developed system of magick. Ellwood defines a system of magic as: “a series of processes and techniques developed by a magician for the purposes of connecting with the divine (in whatever form the divine shows up) and for turning possibilities into reality. The system is used to organize these processes and techniques so that they can be shared with other people, either through books (such as this one) or through classes or in-person transmission.” (p. 19) The beginning of the book covers how to choose the pop culture universe you want to work with and the various elements within that universe that would be specifically incorporated into magick. For example, if a practitioner felt pulled to work with the Firefly universe they would need to examine what resonated with them and why, and how that might harmonize with magickal practices, as well as ways canon behaviors and ideologies might clash with magickal goals.
The middle of the book goes into the details of creating your own system. This is done largely by mapping characters, tools, symbols, locations, and other elements of the chosen pop culture, to magickal correspondences or mechanisms in existing magickal systems. For example a practitioner wanting to work with the Harry Potter universe might map the four Hogwarts houses to the four elements, or someone wanting to work with the Dresden Files universe might map the main characters onto the traditional eight sabbats. This part of the book also touches on ways to create a system based on systems of magic in fiction and gaming mechanics. Ellwood emphasizes that once correspondences have been mapped the practitioner must do meditations, pathworkings, and small magickal tests to make sure the correspondences hold true in practice.
The end of the book examines some of the reasons and ways a practitioner might choose to share their system. Some of the reasons cited include being able to solicit outside feedback, deepening practices collaboratively, and having a way for your system to live on beyond the practitioner’s own personal practice. Ellwood suggests reaching out to mundane fandoms, beyond known magickal practitioners, as a way of sharing a system. The book concludes with a few essays from other pop culture practitioners giving their take on pop culture systems.
Pop Culture Systems gives the reader a quick and easily understandable overview of how to create a system of magick based on a pop culture universe. One of the book’s strengths is its use of a wide variety of fandoms in concrete examples to illustrate the core concepts. With example taken from everything from Lord of the Rings to Teenage Mutant Ninja Turtles, there is something to resonate with almost everyone. Further, while most of the methods discussed seem fairly common sense once read, they’re not necessarily things that would occur to the average practitioner on their own. Ellwood effectively addresses a lot of the complications and stumbling blocks a practitioner can face developing their own magickal system, saving the reader a lot of unnecessary trial and error. While solidly aimed at the experienced practitioner, this book can be enjoyed by newer folks with an eye to prioritizing what they learn and how to begin putting together some of the foundational pieces of a pop culture practice.
For me, there were two main drawbacks to this work. First, the writing style is somewhat repetitive. Ellwood goes over the main concepts many times, and while some repetition is helpful for memory retention it does grow stale. Second, Pop Culture Systems focuses exclusively on systems based on a single pop culture universe. Most of the pop culture practitioners I know work across multiple fandoms, and while the core concepts of the book can be applied to a multi-fandom practice with a little tweaking it’s never addressed. These drawbacks are fairly minor and don’t take away from the validity of the core content.
Overall I would recommend Pop Culture Systems for experienced pop culture practitioners looking to deepen their practices within a specific fandom/universe or those wishing to include others in their practice. The book is a quick and easy read that gets the reader thinking and asking the questions they’ll need to answer to create their own magickal system. If you’re looking to create a system of magick that is all your own and includes the pop culture you love, this is a great place to start.
When I first began practicing magic, I had this naive belief that every pagan and occultist I would meet would somehow be more enlightened. Part of me wanted to believe that the people I would meet would have their acts together, be living a better life than everyone else. And perhaps I also hoped that some of it would rub off on me...that since I was now practicing magic I too would become a more enlightened person.
I eventually discovered that the enlightened Pagan/occultist was a myth. My fellow Pagans and occultists weren't any more enlightened than anyone else was, and neither was I. We are just like any other person, with our own faults, reactions, and everything else that comes with it.
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