The first tactic towards this end is a catalogue of activities. There are many reasons why we do things - indeed we sometimes find it amusing to do something for no reason at all. The magician must analyse every action he makes and satisfactorily explain to himself the reason for each action until his mind begins to clear through the increase in licit activity and the dropping out of illicit activity. At that point he would be performing willed and necessary actions (licit) and not bending to the accretions of habit or appetite. The possible reasons for the performance or omission of any activity are several:-
1. NECESSITY: Health, welfare, income, evolution/development. This last category can be misleading. Activities such as reading or making whatever could be classified under the heading of development. The magician should be ruthless in analysing them.
2.HAB1T: Smoking is an obvious example. Leaving aside the question of health which does not apply to all habitual actions it is necessary only to identify habitual activities. These might then be subdivided into habits which interfere with category 1 functions and those which do not. In either case the magician should desist from their performance.
3.APPETITE: This includes eating, drinking, sex, drug abuse and any activity whose only result is to stimulate the organism in some way spurious to the needs of necessity or nature.
4.FEAR: That is, fear of the consequences should certain actions not be performed.
5.LAZINESS: Any of the categories listed above could also belong to this category, even income. The man who uses mundane work as an excuse not to do those things he really needs to do is a clerk who will never become an Einstein.
6.UNSELFASSUREDNESS: “I will not prepare a meal because I am not a good cook”. Forced into the situation any man can become a Robinson Crusoe. “I am not a good telepath” is insufficient reason not to try - and perhaps succeed.
7.TIME MEASURING: Activities which serve only to amuse until a time when more important activities can be performed.
Further reasons might be listed as a) bravado, b) pride, c) anxiety to please, d) ambition - usually a conditioned or self-conditioned reflex which serves no other purpose than the fulfilment of b or c, e) the herd complex (doing as others do) and f) stimulus—response.
The observation and critical analysis of one’s actions is of paramount importance but this cannot be done in a vacuum. For the magician, skilled as he is in the methods of conjuration and sigilisation, the easiest way to become acquainted with and to destroy the subtle tricks of the mind which prevent him from working to capacity is to personify them as demons, each with its own name and sigil.
To be charitable towards the practitioner of traditional magick, it may be that when he evoked Behemoth, demon of the delights of the belly, and then banished him he was attempting to understand his own gross appetites and thereby to rid himself of them. But even if this were the case an operation of such an isolated nature would have had little or no permanent effect on him. In any case there is little benefit in identifying with a demon of someone else’s creation since that notion is sure to manifest in different ways for different individuals or in some cases not at all.
A number of morning meditations produces a list of categories of action as illustrated above. Licit activities, those listed under 1 need not be personified but all the others should be named and provided with a sigil. The names and sigils may be totally arbitrary or could be arrived at through word-association or similar methods. Having identified these demons the magician must then settle down to observing their action which, in itself, may negate the effects of some of them. In order to destroy the more irrepressable of them, however, he needs to adopt a daily regime, a cycle of actions which not only aids his analysis of them but also provides supplementary activities to reinforce his original strategy.
At this stage the benefits of observing one’s actions so minutely may not be apparent. That doing so will inevitably encourage the magician to do something he has been intending to do for years is merely a by-product except inasmuch as that something might be a category 1 function. It is vital that illicit activity can be recognised for what it is so that it does not interfere with category 1 functions present or proposed. A typical category 1 function is eating. If, because I am too lazy to buy food, I die of starvation it is as a result of the intervention of the demon of category 5. My instinct would always prove stronger than him in such a case because the survival mechanism, an integral category 1 function, is unaffected by demonic onslaughts of this kind.
Should I become fat and unhealthy as the result of a combined attack by the demons of categories 5 and 3 the case is not so clear. Categoiy 1 functions, badly affected, can only defend the self through the observation of potential disaster and the application of will. This is the type of problem with which everyone occasionally has to deal but confronted by the problem “Why can’t I perform psychokinesis?”, another possible category 1 function (leaving aside the question of concentration) the solution must be one or a combination of the following:- a) I do not believe it possible. b) I have not spent enough time in attempting it. c) I do not believe it to be necessary. d) I have better things to do. e) I don’t know where to begin. f) I don’t want to fail so I haven’t attempted it. g) I know I can do it but I have more important things to do.
In the event that I do not believe it possible I succumb to my present level of performance, denying myself the option of functioning at capacity by not recognising that belief is arbitrary and that I can change my beliefs as readily as I can change my shoes. In all other cases I am being assailed by the demons who are expelled through observation and confrontation. The more successes I gain against them in the mundane areas of category 1 the better fitted I am to repel their seductions which deny my magick success.
This is a quote of the Book Of Results as written by Ray Sherwin (4th Edition)
That’s it! I shouldn’t but I like him. And this time around, I won’t be a coward. I’ll speak out what’s the real thing inside my heart. I’ll take the risk. I knew our friendship will be affected. I knew he will become mad. I knew he might disregard me. I knew he only see me as his girl brother. I knew i’m not his type. I knew this might be the last time he’s going out with me and talk to me. I knew he can’t even imagine that i might fall for him. I knew his mind can not process that i like him. It’s actually unbelievable for him, and i’m pretty sure about that. But I don’t want to keep this thing hidden. For my feelings may grew secretly and i’ll end up crying and crying and crying; and saying what if’s every night before i fall to sleep. I’ll take whatever effect of my confession wholeheartedly. So, when we met.. I’ll wear something that will make him think that i am a girl, even just for a day. I’ll give an effort to it. I’ll throw my pride for a moment and say whatever is on my mind and my heart.
The following is a quote of The Theatre of Magick by Ray Sherwin, an English practitioner and co-founder of the IOT order (for : Illuminates of Thanateros)…
The narrator, himself in disguise, as for a “mise en abîme”, speaks in the introduction of this book about duality. Duality as the opposition Cosmos / Chaos is chosen here as a better conception, rather than the old Good / Evil one. This raises attention, and I will now speak for myself : there is no Bad neither Allowed things to do in Magics, for what you can make up is kind of meaningful and justified in itself, as part of your non-conscious and akashic plot or design, to raise Higher Self out of this crippled reality one has to undertake first in Life. In other words if you are into Craft and Magics, do what thee wilt as they say, without postponing any intention because of the -what-is-believed-… and if you want no harm out of it, protect yourself first, for you are the center of your perceptive and intellectual field, efficient and final cause of what happens in your Life…
The magical record is the magician’s mirror. In it he sees himself, not as others see him but as he is. In it his qualities and faults are exposed and available for scrutiny. In it his successes and his failures are meticulously recorded. It is his glory and his shame. But that glory is not in success, that shame is not in his failure. The glory is in works attempted. The shame is in the unrecorded day.
Travailler les personnages / Working on characters
Sherwin a commencé il y a maintenant presque 1 an, mais le film a conservé une ligne directrice tout au long du processus du création. Cette direction était le moteur du film, et donc de l'histoire. L'équipe a du veiller à ne pas s'égarer de celle-ci. L'esprit de cohérence était donc primordial sur le projet. Il fallait créer des personnages qui puissent exister au milieu de cet univers. Et cela passe par exemple par les costumes, qui doivent refléter le caractère et la condition des personnages qui les portent. Dans Sherwin, ils possèdent une donnée importante.
Mélanie Lopez, assistante réalisatrice et costumière sur le projet, nous parle de cette donnée capitale dans la création du film :
“Quand on a dû décider des costumes de Sherwin, ce qui était bien, c'est qu'il n'y a jamais eu de conflit entre Arthur et moi à ce sujet et qu'on avait tous deux une même idée globale de ce qu'il fallait exactement pour les personnages. Il fallait non seulement tenir compte de l'époque intemporelle ; de l'esprit du film où les costumes se devaient d'avoir un rôle discret, indicateur mais non perturbateur pour le spectateur ; mais aussi et principalement des personnages, de leur personnalité et de leur rôle. Pour Sherwin (le protagoniste), on a majoritairement respecté le fait que c'était un garçon rêveur, légèrement aventurier mais pas trop, et curieux. Il se devait de ne pas avoir un style marqué, presque habituel parfois, pour coïncider avec ses routines, afin que le spectateur s'habitue et accepte vite ce garçon. Néanmoins les changements de tenue durant le film (que ce soit la façon dont Sherwin porte ses vêtements, ou la couleur de ceux-ci) ont tous été décidés avec précaution, et ont tous été motivés par une raison. Sherwin va s'adapter chaque jour à son environnement et les péripéties qu'il lui offre ; et les costumes en pâtissent à chaque instant.
Le reste du boulot étant tenu secret par le tyran qu'est le réalisateur, il n'est pas possible d'en dévoiler plus pour le moment. Mais avec Arthur, nous avons vraiment travaillé de sorte que chaque recoin du film ne soit pas là sans raison, que tout accompagne l'histoire et ses personnages au maximum ainsi que le spectateur. En tant qu'assistante réalisatrice, j'ai dû constamment rester derrière avec un fouet pour veiller à ce que tous ces recoins aient du sens, et que l'on garde la ligne directrice, que ce soit dans les costumes, les plans, ou encore l'acting des acteurs. Inutile de dire qui s'est pris le plus de coups de fouet…”
Sherwin started almost 1 year ago now, but the film kept one guideline during all of the creative process. This direction was the heart of the film, and of the story too. The crew had to stay true to this direction. Consistency was essential on the project. So, characters had to be believable in the middle of this universe. And this was possible through the costumes, which must reflect the nature and the story of the characters who wear them. In Sherwin, they carry an important meaning.
Mélanie Lopez, assistant director and also costume designer on the project, tell us about this meaning in the making of the movie :
“When we had to decide of costumes in Sherwin, what was great was that there wasn’t any conflict between me and Arthur regarding this subject and that we had the same global idea of what we exactly needed and wanted for the characters. We had to not only take account of this ‘timeless period’, but also of the movie’s spirit in which costumes had to play a discreet role, indicative but not disruptive to the audience ; and mainly of the characters, of their personality and their role. For Sherwin (the main character), we mostly respected the fact that he was a daydreaming boy, also curious, and had slightly the soul of an explorer but not that much. He had to have a simple style, almost customary sometimes, in order to match with his routine, so that the audience would quickly accept and get used to the boy. However, all of the outfits changing during the movie (which could be the way Sherwin wears his clothes, or even their color) were all decided with precaution, et were all motivated by a reason. Sherwin will adapt every single day to his environment and what it might hold ; and costumes will always be affected.
The rest of the work being kept secret by the tyran that is the director, it’s impossible to reveal more for the moment. But with Arthur, we really worked for each fragment of the movie to be here for a reason, and for everything to assist the story and its characters - and so the audience. As the assistant director, I had to constantly stay behind with a whip in one hand (scenario in another), in order to stay sure that every fragment made sense, and that we kept this guideline, in the costumes, or type of shots, or even actors’ acting. Saying who got hit the most would be unnecessary…”