Visualizationworkshop Runyon

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Magickal Visualization Training - Work Shop -- Part One to Five

Copyright 2000 by The Church of the Hermetic Sciences., Inc.http://members.aol.com/CHSOTA/welcome.html

[email protected]

[email protected]

Part One: Introduction

The mind, as those who developed the Macintosh computer were aware, thinks in pictures (colored pictures

actually). Therefore if we want to imprint our subconscious, and the morphogenetic field we call "the astral",we can do it most effectively with images. Ancient pagan priests (who were often magicians) were wellaware of this, and their so-called "idol worship" was an effective form of psycho-mystic mental and emotional

programming. The power-hungry monotheistic Biblical and Koranic cults were also aware of this visualpower andwere intent on suppressing it. The magick of "The Word" has power, but its ultimate secret power lies in the

visualization of the formulas in all the scales of emanation (see Bardon's *Key to the True Qubballah* seealso Charles Russell's *Barbara Cubed*).

Tibetan tantric yoga recognizes these principals and has had a 1000 year head start on us in perfectingthem. We can learn much from our Eastern colleagues in this area -- but we should remember that theirphilosophical perspective differs from ours and therefore their methods are somewhat different. To

oversimplify the difference, let us say that we believe everything in the universe has some measure of"reality", whereas they hold that everything, including the universe itself, is illusion. This may seem to be thesame elephant felt by different blind men, but it does bring about some practical differences in training. We

insist on a whole universe that hangs together in one grand design (Because it is "real"). They can have adifferent system of correspondences for each entity because nothing needs to match up in a non-existantuniverse. We start with simple building blocks, whereas they start off with elaborate god forms (e,g, Lord

Chenrezi, etc.). At this point the perceptive student will be asking: 'but what is the advantage of makingpictures in your imagination? What do they actually do for you, besides help you figure out how to draw orbuild something?

This question brings us to the crux of Western magickal field theory: Plato conceived the "idea" of an"original idea" (i.e. a pre-existing template) for everything that manifests into physical reality. Plotinus gave

this abstract concept a moving, generating "Force" (Use the Force, Luke!) with his theory of emanations.One does not have to be a rocket scientist to see how these "energized ideas" provide the practical powerbehind kabbalistic/magickal formulas. And those formulas (according to Herr Bardon) need to be visualized

for their full effect. In magick,as in desk top publishing, "What you see is what you get."

So let's do some deep breathing (pranayama), relax, (yoganindra), empty our minds (and especially don't

think of a hippopotamus!) and get it on. . .

Part Two: Preparatory Exercises:

Before we can start actually visualizing we have to learn to control our minds, and our bodies so that we canmaximize the effect. We want to be able to hold these visualizations, in a magickal trance state, and work wit

them. This means that we need to master basic yoga and self-hypnosis. For these prerequisites I suggesttwo classic works: *Fundamentals of Yoga* by Ramutri Mishra (on Raja Yoga) and *Self-Hypnotism, ItsTechnique and Use in Daily Living* by Leslie M. LeCron. Both have been in print in numerous editions for 30

years and are presently available from Amazon.

In yoga training you need to concentrate on pranayama (breathing) and the process of tratakam (yoga of the

fixed-gaze). The latter prepares you to achieve the magician's steady, un-blinking stare so necessary forfuture visualization work. In self-hypnosis training you need to concentrate on establishing the out-loud


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dialog between your own conscious voice and your inner subconscious ear, so that you can prepare yourselfto "channel".

Along this line I suggest you read *Magick and Hypnosis* on our web site (a freedownload). Now, following Bardon's initial steps in *Initiation Into Hermetics* we must get our undisciplined

minds under control. First spend some time observing your thoughts and analysing them, then hold onethought only for a time. You can amplify this exercise by visualizing a pink color, the word "Love", and thehumming sound of "Om" all at the same time -- but nothing else.

After several days devoted to this, graduate to holding a "no-mind" state, counting the number of thoughtsthat intrude during a given meditation period. Bardon does not mention it, but the "rushing thoughts"exercise is a good adjunct to this process.

This is a jamming of one thought after another as fast and as furiously as you can pile them on -- then at theclimax, experience the bliss of "No Mind!" Our "sinking pearl" exercise is also quite good and has the added

advantage of accustoming you to moving the center of your consciousness to different locations in yourbody (very important in later Chakra meditations) (for this see *The Book of Solomon's Magick*). You shouldbe able to sit in an asana for five minutes with an essentially "empty" mind before beginning actual

visualization training.

Part Three: Magickal VisualizationWe will now move on along with Franz Bardon and William G. Gray in mastering the firststeps of magickal visualization.

Franz Bardon starts us off in visualization with an exercise popularly known as "Kim's Game" (from the

Kipling novel *Kim*). It is a visual memory and concentration aid which is good as far as it goes, (especiallyfor detectives, intelligence operatives and military observers for whom it was developed) but William G. Gray(*Magical Ritual Methods*) had a concept much more applicable to the magician. Gray starts us off with four

basic objects: a knife, a paintbrush, a cup and a disc (black on one side, white on the other). Besides being a simple version of The GrailHallows and the magician's elemental tools, these objects also are creative agents and manifesting surfaces

in their own right. Bardon wants us to work on visually remembering a collection of non-specific common

objects as to position, size, color, etc. This is good memorytraining but misses an important aspect of the creative process: We only perceive as much of an object as

we need to in order to identify it. To "create" or "re-create" you need to do more than just snap a mentalpicture of it. You need to "know" the object in every aspect. For example: we are all familiar with pencils. Weuse them every day, but how many of us know how many sides a pencil has? Do we know how many bands

and crimps there are in the eraser sleeve? Do weknow what's printed (embossed actually) along the side of the pencil? In other words, we really don't knowsquat about pencils! So how can we expect to visualize one? The above conception is so important to this

process that it cannot be over emphasized. This is why it is important to read Ramacharaka's little book*Raja Yoga*. His is one of the very few works to deal with this vital aspect of the imaginary creative process.

So, to begin: we select the most simple and utilitarian objects to represent our four magical implements. Asmall pairing knife (paint the handle yellow if you wish), a small watercolor brush (paint the handle red if you

wish), a shot glass (or any small glass tumbler) and your disc; 5" in diameter, white on obverse, black onreverse. Along with these items you will need a small practice stand about 18" high, a black cloth (3' squareminimum), a kitchen timer, a small tape

measure, a black-out mask (blindfold) and, if you are in a noisy environment, a pair of shooting muffs. Inaddition it is nice to have a horsehair cushion of the yoga meditation type to sit on. Fifteen minutes a day --preferably in the morning -- should be allocated for this training.


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(These are shown in our video and also in a color plate in TBOSM). If you want to see our Geburah (War)Goddess -Form of Anath, she is pictured on

our new Tarot card "Conquest" accessing Da'ath. (See The Red Seventh Ray). Make these forms so realand so plastic that they are ready to come alive.

So how do we learn to do all this with eyes open?

Much easier than you thought. First, you will be doing this in a subdued light on a prepared surface. One

magickal school used a blue velvet drape for this purpose -- but some years ago I discovered the trick tomaking the transition from eyes closed to eyes open a very easy process. You start by simply opening youreyes behind your blind fold. It's hardly any different than your closed-eyes "front-screen"! Once you've gotten

this technique to working, then adjust the light as low as necessary and slowly remove the blindfold,extending your focus to the black (velvet or broadcloth) drape. You will quickly discover that there was nogreat hurdle to overcome.

In the next issue of The Seventh Ray (The Green Ray) we will be running the expanded, illustrated andmore detailed version of this five part article. Watch for it!

Texts for this Work Shop:

1. Bardon - Initiation into Hermetics2. Gray - Magical Ritual Methods

3. Mishra - Fundamentals of Yoga4. Ramacharaka - Raja Yoga5. Le Cron - Self Hypnotism; its Technique & Use in Daily Living

6. Runyon - The Book of Solomon's Magick7. Runyon - Magick and Hypnosis

****This course is proprietary to C.H.S., Inc. and copyrighted 2000 by The Church. It is published here in abridged form for private useby individual practitioners on alt.magick. It may be shared with others individually, but it may not published or distributed in anycommercial format. Its original authorship should be cited and credited in any re-post or e-mail. Questionsregarding this should be addressed to: [email protected]

Good Magick!Gnome d Plume

http://members.aol.com/CHSOTA/welcome,html

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