kaos

Joel Biroco: It’s not about having a pinboard. It’s not about making a symbolic framework
unconscious, it is about making a symbolic framework unnecessary. Correspondences
are arbitrary associations, they don’t “mean” anything except what you allow them to
mean. We also each have our personal correspondences funded from memory and
associations made in the past. Though it may not seem like it, even these connections
are arbitrary; they may appear “meaningful” and we may use them to feather our nest of
belongingness in the universe, but this is complete illusion. We hear magicians speak
of, oh, I dunno, green for Venus, whatever, gold for Kings, whatever, all of it is completely
arbitrary and meaningless. We invest in these associations because people always have.
If I’m saying anything here it is that juxtapositional magick cuts free from all of this
and so I categorically state: studying qabala, bagua, correspondences, whatever, is of no
use for learning juxtapositional magick: no use whatsoever, in fact, it’s a hindrance. But
we will continue to hinder ourselves and our magick because that’s the way we are.
Juxtapositional magick is not about taking on board “ways to learn it” it’s about unlearning
all of what we have taken for granted so far.
David Cantu: A similar notion is touched on in Liber Null & Psychonaut when Carroll
touches on coincidence, and its importance—I read this more as patterns in reality,
because “coincidence” occurs on all sorts of levels.
Joel Biroco: I’m not talking about synchronicity but spontaneous ritual.
David Cantu: Is it safe to assume that juxtapositional casting involves using patterns
which basically assemble themselves?
Joel Biroco: Er… sort of… but don’t try to define this too soon…
David Cantu: Why, then, is an altar relevant?
Joel Biroco: It is a place of focus, a place of power, but altars can be found anywhere, this
was my point.
David Cantu: Say, for example, I notice a “physical coincidence” between a bass guitar,
a stereo, and a grapefruit. This “unified object” (ie, I remove perceptual boundaries
between these objects) relates to a particular unwanted emotion, or desired effect.
How then does one make the leap between seeing and doing, or is there a leap at all?
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