The Art

The last few months have had me dwelling heavily on my life as of ten years ago. In the summer of 2012 I had just graduated from high school, and a few months later I had begun life as an eccentric and semi-lonesome art student. By that time, by Society’s terms, I had just become a young adult. And though I was very un-social and ended up missing out, I was rather expressive, and I saw my time in college as a grand opportunity to set my mind and imagination free, even if you could say I wasn’t a very good artist back then. I took on a lot of unique ideas back, and I’d say some discussions and influences have survived in my psyche to this day.

Ten years later, I have felt a noticeable urge to revisit that aspect of my life, and the potential that I feel could have been unleashed had I, perhaps, done things differently in my life instead of going through a game design course and never getting a career out of it. At the same time, seeking to deepen any sense of concrete religio-magickal praxis has me naturally thinking about just how such creative aspirations might intertwine with practice, inspired mainly by discussions in modern Paganism. And so to this end I got inspired to write some notes and cobble some ideas together in order to assemble an artistic philosophy that would animate my work in much the same way that my two articles on my concept of Satanic Paganism seem to animated the way think about religion and life philosophy going forward. In much the same way as the two articles about Satanic Paganism were all about establishing philosophical footing towards a practical end, this article continues exactly that goal in application to a practical interest that I desire to deepen.

Art As Occult Pagan Praxis

Back in December of last year, Aliakai hosted an interview with Ptahmassu Nofra-Uaa, a Kemetic polythetist iconographer and the author of the book Sacred Verses: Entering the Labyrinth of the Gods, to discusss art as a means of conversing with the divine. The basic idea being presented is that art itself, regardless of your level of skill or even your own confidence in that skill, is by its nature a conversation with or about the divine. Thus we see art brought into focus as a part of Pagan praxis. Aliakai pointed out that, from the Hellenic perspective, the divine works in all aspects of artmaking and including the written word; the Mousai (or Muses) presided over the written word (which was itself considered art), Athena over weaving, Hephaistos (Hephaestus) over pottery and metallurgy, Hermes over messages and speech, Dionysos (Dionysus) over all kinds of performance, to name a few. The point being made is that art itself, and the flow state attendant to it, may constitute conversation with the divine. This also connects to a broader idea that Ptahmassu laid out in which mundane activities, insofar as they can be invested with meaning or creative purpose, can be dedicated to the gods, even as offerings to the gods; such a model, Ptahmassu, notes, is present across the various polythetistic traditions. In this perspective, activities such as cooking can be thought of as a way of honouring gods such as Hestia.

The idea is that basically (potentially) any activity can be dedicated to the gods and received as an offering. This observation is sort of expanded on in Aliakai’s more recent video, “What to Offer To the Gods in Hellenism”. Here, it is noted that songs written by bards and poems written by poets could be counted as offerings alongside animal offerings (which were actually fairly uncommon in practice), fruits and vegetables, incense, and votives. Relevant to the discussion I give here is the section about devotional offerings. The concept of a devotional offering includes what is called a devotional activity, which is simply an intentionally performed activity within the domain of interest of a god that is then focused and concentrated towards that god. Examples of this could include plays performed to Dionysus at the Dionysia festivals, or the concept of rhapsoidos (from which we get the word “rhapsody”) as a poetic offering. Feats of strength or artistic creativty, not to mention poetry itself, were often believed to be recognised by the gods as offerings to them insofar as they were devoted to the gods. What counts is that the act is consciously considered as actively devoted to the gods.

For the purpose of what I’m writing here, I have pursued a line of inquiry involving the connection between art, devotional offerings, and magick. Finding leads in that direction was difficult, but I have found aspects of chaos magick that may prove sufficient. In the eighth chapter Condensed Chaos, Phil Hine discusses the conception of Invocation, or Pathworking, as a way to identify oneself with a god-image in order to amplify a desired attribute or multiple thereof. Hine uses an example of a woman who identified herself with an image of the Hindu goddess Kali and, by way of Pathworking, seemed to take on some her powerful attributes. Another example is in a Pathworking invocation of Ra-Hoor-Khuit, a Thelemic avatar of the Egyptian god Horus, through which one may apparently gain magickal prowess. Something about this conception of Invocation feels very much in harmony with the magickal practice of divine identification found within the Greek Magickal Papyri, and I’m tempted to think of it as a modernized take on it, less steeped in older forms of ceremonial magick. It is also possible for me to interpret Invocation in artistic terms.

Phil Hine talks about the connection between Invocation and acting or drama. It’s actually likened to a performance, directed at the entity being invoked, and a good performance would be met with reward while failure would not. Voice, gesture, form, and other attributes form part of what Hine calls the “theatre” of magic. This connection is then expanded in the subject of mask work. Much like ancient Greek theatre, Hine’s concept of Invocation/Pathworking also involves the use of masks, which, although commonly understood by modern societies as simply aesthetic objects, were understood by older cultures as powerful magickal implements, even weapons. The mask is here understood as a channel through which a spirit or divinity enters the individual personality, takes possession of it, and thereby enact a transformation of personality. Face-painting, props, instruments, pose, all kinds of elements of performance are drawn together in the Invocation, because in that concept of Invocation you are indeed meant to put on a good show for the gods, or at least one of them in particular.

So how do we track Phil Hine’s overall principle of Invocation to the concept of devotional offerings in Hellenism, and thereby Pagan praxis in a wider sense? The short answer is that the Invocation entails making an Art of yourself and that this is the offering. The long answer is context, which we will explore forthwith.

One important aspect of this context is not merely theatre itself but the origins thereof. Ancient or “classical” Greek theatre originated from religious ritual, particularly as devoted to the god Dionysus. As early as the 6th century BCE, worshippers of Dionysus would publicly perform wild and ecstatic cultic songs called dithyrambs in his honour, not to mention their very namesake referencing the god’s death and rebirth, and from this period it is acknowledged that the dramatic arts gradually developed. During such festivals as the Dionysia and the Lenaia, actors would perform on the stage at the Theatre of Dionysus, attended by thousands of spectators, enacting the myths and tragedies with divine import. Other similar Hellenic cultural artefacts include the paean, a much more sober and triumphant set of songs dedicated to the god Apollo, as well as the Delphic Hymns also dedicated to Apollo. Theatre in ancient Greece had all the trappings that Phil Hine described as part of mask work: masks, costumes, instruments, vocal performances, and more. It would make sense to contextualize this in terms of devotional offerings in the sense that poetry competitions were, in that these poetry competitions were indeed dedicated as offerings to gods, and the theatres themselves derived origin from similar ritual performances.

The way Phil Hine talks about performance in Invocation in some ways brings to mind the idea that, as Aliakai noted in her video, the gods enjoyed watching humans as their own form of entertainment – an idea that apparently stretches all the way back to Homer’s Iliad, with its emphasis on the divine audience. Indeed, it has been observed by critics that, throughout the Iliad, the gods appear to observe the world of mortals as though watching a show from Mount Olympus, albeit a very special show where they get to intervene in the affairs of a cast whose fate they sometimes invest themselves in. They feast and laugh while seeing us performing our roles in the world, and Zeus alternates between amusing himself at the antics of the mortals and beholding in anguish as his sons die in the same world as the others. It’s almost tragic when you put it that way, but then that would make sense for Homer, wouldn’t it?

To extend this to a logic appropriate for Satanic Paganism, though, means to place us as more than actors that the gods occasionally invest themselves in. Our “performance” is in this setting a conscious, active, magickal act, aimed at reaching out to that realm in such a way that we might actually approach it, and take on divinity into ourselves. This is thus the sense in which the gods may be understood as potential partners or even collaborators in our self-actualization, as in a Great Work on a cosmic scale. Those who partake in this effort are the alchemists who turn the world around them, and in a certain way themselves, into the magnum opus, the philosopher’s stone, and become their own divine individuals. That work in itself, the performance and ritual we undertake, and perhaps especially the means by which invocations allow the gods (and the demons!) to work their hands in the world and in human life, can in their own way be thought of offerings in the precise sense that any of the traditional devotional offerings were.

Warlike Soul, Magickal Self

What I found somewhat notable is the role of the Egyptian god Ptah, a creator god who was also the god of craftsmen, from the Kemetic perspective. For Ptahmassu, anyone who does anything in the arts receives divine inspiration from Ptah, and all creative acts ultimately come from the gods, even if one is not conscious of that, and indeed this springs from the belief that really everything and even the other gods originate from Ptah as per Memphite theology. But more interesting from my perspective is the discussion of the wrathful/warlike aspect of Ptah – that may seem like a random subject, but stay with me on this. Ptahmassu says that Ptah is also a god of war, and was one of the gods of the four branches of the ancient Egyptian military, and that one of his epithets is “bull who rampages with sharp horns”, among other apparent epithets not known outside of specialist circles. In this way Ptah is not only a creator god but also a war god and a destroyer. It is noted that one of his spouses is Sekhmet, the war goddess who was seen as a wrathful manifestation of the power of Ra.

Modern polytheists (including reconstructionists), because of the modern context in which we often see war and violence, prefer not to think of the gods of war as to be invoked in relation to actually going into battle with enemy combatants, but instead as deities who may fight spiritual battles for us when we face overwhelming obstacles, or give us the strength (or as Ptahmassu says “heavy artillery”) to fight them. But from my perspective, this view, believe it or not, is not dissimilar to the way wrathful deities are viewed in Buddhist practice. Buddhist wrathful deities are invoked to destroy the spiritual obstacles a practitioner faces in pursuit of enlightenment, as well the obstacles to the Buddhas and the Dharma more generally, and in this they represent the force, energy, and power by which passion, anger, and ignorance are turned into compassion and wisdom. You might well think them as the “heavy artillery” of Buddhist meditative practice, and for this reason the proper term for them is the Wrathful Destroyers of Obstacles (or Krodha-Vighnantaka).

Those figures have always been fascinating to me. Warrior gods in particular have a way of bringing into focus a persona of desire and individuality I’ve sought to cultivate. It’s going to sound more weird, trust me. In high school and college I would take any sword substitute I could find, usually a ruler or a bamboo stick, and make like it’s a sword to practice with. One day in college I’d just go out back to do sword swings with what I think was a bamboo stick. I seem to recall having the faculty talk to me about that not long afterwards; seems that was a tad disturbing for them. I suppose it must have also felt weird that I was probably the only person in my college class to support the idea of owning a firearm. When collecting old metal records I sometimes referred to it as collecting weapons or ammo. That’s kind of just how being into old school metal felt like. Some of that is still with me. The whole “classic/underground metalhead” aesthetic, right down to its often wildly liberal use of bullet belts, always had me feeling it was the genre that’d have you thinking you were a warrior if you listened to it. I rather liked that feeling.

Shin Megami Tensei undeniably set off a lot of sparks of identification for me. That probably started with identifying with the Chaos alignment, and with it the aesthetics and some of its attendant themes. A big part of that is the gods and demons, and in this regard it’s arguably responsible for the way I interact with anything from “The East” as I were. I mean look at these guys from the original Shin Megami Tensei. Did I mention the Gaians too? Or the Chaos Hero? Maybe some more examples. Something about it formed what I think of as a sort of gestalt aesthetic and spiritual identification that has persisted over the years and shaped the contours of my spiritual aspirations. Honestly, though, I think the ethos of it all that can only deepen when looking at anarchism in the way Shahin talks about it in Nietzsche and Anarchy. Living free can only mean living fighting, embracing the conflict inherent in life and finding joy within it, with yourself as a participant in this conflict.

This probably feeds into the deep-seated appreciation for war gods, warlike and wrathful deities in various contexts. The interview I mentioned earlier brought up not only Ptah but also the Hellenic god Ares. Ares in particular actually seems very ontologically significant, being that he is not only the god of violence but also the patron of rebels – he is thus the renewal of the war (the literal meaning of rebellion) in the cosmos. Though in the context of polytheism it is probable that “god of [insert thing]” doesn’t really apply. Several deities counted war, battle, and the like as part of their overall complex of attributes. Some really good examples include Inanna, Anat, Athena, Tezcatlipoca, Perun, Set, Anahita, Ba’al Hadad, and of course Odin to name but a few. In fact, one of the very fascinating things about Norse/Germanic polytheism is that many of the gods could be thought of as “war gods” to some extent or another. Besides Odin, there’s Freyja, Freyr, Tyr, Ullr, Thor, Hodr, to name a handful. Some expressions of Germanic polytheism also seem to have been associated with a particularly warlike cultus in at least some accounts. Anglo-Saxon accounts (keeping in mind the probable Christian bias) described Vikings partaking of ecstatic war dances to their gods during their campaigns in England, while in northern Italy the Langobards are defined by their worship of gods of war and fertility (specifically Odin (or Godan as they called him) and the Vanir). I get a bit of a kick from reading about the Mairiia, an apparent band of polytheistic warriors from ancient Iran, and how they held orgiastic feasts and worshipped “warlike” deities such as Indra, Rudra, Mithra, Vayu, Anahita, and Θraētaona (or Fereydun), and whose ecstatic cult was apparently eventually banished as a supposed enemy of the emerging Zoroastrian religion. At least quite of the Buddhist wrathful deities double as war/warrior gods in particular; these include Begtse, Tshangs Pa, and Vaisravana/Bishamonten among others.

How does that play into any kind of personal “magickal self”? I suppose I should start with the base concept. Aleister Crowley, in Book 3 of Liber ABA, defined the Magical Operation as “any event in nature which is brought to pass by Will”. Crowley suggested that this definition could include a range of activities from potato-making to banking. What makes it magical is the extent to which Will may be exercised in the material world towards a desired affect. It’s consistent with Crowley’s overall definition of magick and therewith the conception That alone does not tell us much, but what if we were to consider the notion of the magickal self as a sort of artistic Magical Operation? Crowley says later on, that “No matter how mighty the truth of Thelema, it cannot prevail unless it is applied to any by mankind”, meaning in practice that the Book of the Law had to go from simply being a manuscript to being published in order to achieve magickal effect. So then, Will must reach outwards to achieve its affect.

The Magical Operation I may speak there is thus: to cultivate and impress the power of a wild, warlike magickal self whose object is to fill the world with his will. The magickal self, in this sense, can be thought of as the active, imprinted manifestation of the magician’s subjective universe via identity, through which the magician affects their own consciousness onto the world, and conveying that which it means to affect in its inner and outer world. For me, for this “wild, warlike magickal self”, that is a sort of transgressive mystic freedom and strength, bound to the unbridlding of the inner darkness of life and the hearth of will nestled within it.

The entire enterprise is to be considered a manifestation of the Left Hand Path, insofar as this is to be understood in modern parlance. The magickal self is a process of the creative actualization of the will of the artist-magician, done so as to become an active force in their own existence, and not only this persisting, survivng presence in the world through the creative power of magickal subjectivity. By imprinting the world with Art, the artist-magician transforms themselves and then the world around them by the same practice, and, in a way, they might well contribute to their own “immortality”, their own will surviving in the face of death, joining a world of divine wills. The spirit you want to impress on this world is down to the individual. For my purpose, I wish to cultivate and impress transgressive strength.

There’s also obviously another purpose to it. After all, if one desires to affect a warlike spirit or persona in the world, then even if it’s just for its own sake or out of one’s own raw affinity, it only makes sense that you mean to fight in the long term. And I do, for many reasons. I suppose one of the main ideas ideologically is to produce an autonomy capable of participating in the broad social war, as Shahin puts it, or the broader war of all against all (in Stirner’s terms) that pervades the cosmos, upholding its own freedom and ownness by standing and fighting against all of its enemies. In full candour, though, there is also a pure desire to it. The desire to be able to have the inner and outer strength to independently rely on, to always be able exert myself in will, and to be able to enter into moments of destiny that might depend on it: in other words, to fight and put the fear of the gods into anyone hostile to those persons, or just the one, to whom I invest my full devotion. But there’s also an obvious way to connect it to the way Toby Chappell conceives of magick as, at least I’d argue, a sort of dialectical transformation of the inner and outer worlds. Or, perhaps, as Michael Bertiaux put it in his Voudon Gnostic Workbook, “the imagination making the world to be as it is in itself”. The development of subjectivity towards its own empowerment, and working performed upon it, is to become an agent upon the outer world, and perhaps so on. The warlike spirit grows so that it can be its own full ontological autonomy, so that it can forge its will as like a blade within an actual forge, and then imprint will as the expression of active creative agency and as the mark of resistance.

To briefly return to ideological-philosophical considerations, it is worth establishing that struggle is never absent in life. Indeed, our species is perhaps alone in its thinking that it can cut itself off from the struggle: establishing civilization itself as an ostensible enclave from that whole world, all while actually containing struggle within itself, and then collapsing and being rebuilt again and again, beholding new iterations of the same cycle. Struggle in many ways can be thought as essential to life, certainly so if we take from the Pagan worldview that rebellion is locked into the origination and perpetuation of cosmic life in itself. Thus, as Kropotkin says in Anarchist Morality, to struggle is to live. Certain philosophers of resignatory pessimism, like Arthur Schopenhauer, almost certainly sensed this albeit to the precise extent that they wanted an out from it. Even in a world of Anarchy, nothing tells us that struggle will end, as a new world without authority will yet contend with those whose desires tend toward social control and intimate authoritarianism, which thus threaten the re-establishment of every system of social domination you can name, thus leading to new cycles of social war marked by the necessary battle against social domination and its various sources. All I mean to say, though, is that insofar as the struggle is endless, one has the option to take it up and make oneself a combatant, knowing all of this, as a matter of amor fati. Thus is the world into which warlike spirits maintain their place in the eternity of resistance.

The “Luciferian” Impulse in Art (Or, A Word on the Mysterium Luciferianum)

I’d also like to discuss the sort of “Luciferian” current that not only runs about through the way I’ve appreciated this whole warrior theme, as well as a much broader artistic theme that might have a broader place in the artistic worldview, all of which sort of gradually emerged as I wrote this article.

Lucifer, the spirit of the morning star, is the spirit who rebels against the Sun. Fraternitas Saturni, who linked Lucifer and Satan together with the Roman god Saturn, interpreted this as the conflict between Saturn and the Solar Logos (or Sorath), which they hoped would end in the absorption of the Solar Logos by Saturn. Japanese astrology also believes that the planet Venus (which in Japan is often called Taihakusei) was believed to compete with the Sun for brightness. Although the Roman Lucifer and the Hellenic Phosphoros seem like purely innocuous spirits of light and dawn, several other morning star gods and spirits were also linked to war, and even death and the underworld.

This includes Athtar, the Ugaritic god whose myth is a likely “origin” point for the Luciferian Fall mythos, since he represented war and battle as well as fertility and water. Athtar was connected with the goddess Astarte or Ishtar, to whom he was considered a male counterpart, and Ishtar is known for being a goddess of both sex and war and was regarded as the evening star. Athtar was also paired with the Moabite god Chemosh, who is perhaps Biblically notorious as the god who managed to defeat Yahweh once in battle. The Syrian deity Azizos was a morning star god who the Roman emperor Julian identified with the Hellenic god Ares, the Arabian goddesses al-Uzza and Baltis were identified with the morning star and worshipped as warrior goddesses, the Iranian goddess Anahita was connected to the planet Venus and worshipped as a goddess of war as well as water and fertility, the Egyptian god Sopdu was a morning star deity who was also a god of war, and the Slavic Zorya goddesses, representing the morning and evening stars, were also warrior goddeses. The ancient Mayans venerated the planet Venus in the context of war and planned military campaigns based on the planet’s movements, the Japanese gods Daishogun and Taihakujin, who were associated with the planet Venus, were depicted as generals, and the Pawnee venerated the morning star as a god of war.

The morning star itself was sometimes believed to be a rebellious entity. The Mayan Chak Ek was believed to bring disorder to the world and fight the other gods. In Islam, Zohreh is the name of Venus and a woman who tricked two angels into giving her the secret of how to enter Heaven. In Shinto, the morning star was likely personified as the god Ame-no-kagaseo (more popularly known as Amatsu-mikaboshi), who rebelled against the Amatsukami by refusing to submit the land of Japan to them, while in Japanese astrology the star called Taihakusei was believed to inspire sedition and was considered an omen of coup d’etat.

What’s funny is that, as far as Michael Bertiaux is concerned, people are motivated to become artists because of the “Luciferian” impulse. Also funny is that, in that interview, the actual line between “Luciferianism” and Satanism is not really established in that interview, and in fact his concept of the “Luciferian impulse” emerges in relationship to his discussion of esoteric Satanism – specifically the so-called “school of Rops” that Bertiaux says was founded by the artist Felicien Rops in Paris in 1888 as well as the so-called “Temple of Boullan” that was ostensibly founded by a Haitian occultist named Paul Michaël Guzotte. I think I’ll have to look into those at some point. Still, there’s a way to make sense of it especially when we don’t consider “Luciferianism” to be a distinct religious tradition (which it can’t be, since there are several doctrines called “Luciferian” and some of them are basically just brands of Satanism). If we creatively apply the way Rene Guenon defined “Luciferianism” as “rebellion” or “counter-tradition” (bearing in mind that he also considered it to be basically just “unconscious Satanism”), that can apply as much to my own enterprise of Satanic Paganism inasmuch as it too bears this impulse.

Therein lies a larger point, though. “Luciferianism” is not a religion in itself. There is no real shared body of doctrine or praxis that can be called “Luciferian”. Instead there’s a bunch of doctrines and praxes from a variety of occultists for whom the term often seems to have very different meanings – in some cases it literally is just a different take on what is basically Satanism. And to be honest the more I see self-styled Luciferians around the more it becomes somewhat obvious that “Luciferianism” exists as part of the Satanic landscape, just that it focuses on a very distinct mode of magickal-mythical identification.

But as much as I’d like to elaborate more on what I might call the “Mysterium Luciferianum” (to adapt Rudolf Otto’s terminology of the Holy), what matters is the impulse that Bertiaux speaks to. It’s fundamentally what Carl Jung talked about when he discussed the principium individuationis: that is, selfhood seeking to define itself on its own terms. Art is probably the most ubiquitous means for the principium individuationis to manifest itself concretely, and perhaps that is why it is so reviled by mass society when it does exactly this and shunned by mass markets for not being some mere product. In this sense, art cannot be adequately understood as solely the production of beauty and thus the recapitulation of forms. The individual artist, insofar as they pursue conscious self-definition through artistic media, can apply the “Luciferian” impulse in that this impulse is fundamentally to assert your own creative will, especially in rebellion against Society.

My Very Own Little Sparta

One artistic ambition that I have nurtured since I was a student in college was the creation of my very own space in the vein of Little Sparta by Ian Hamilton Finlay. All I can think of when it comes to what that would actually be like is that I would practice the sword there or maybe even do some outdoor worship there, but to understand just the idea being explored it’s necessary to explain the concept of Little Sparta.

Little Sparta is a garden that was created in 1966 by Ian Hamilton Finlay and his wife Sue Finlay. It still exists to this day and is still open for public visitations in Dunsyre, located in South Lanarkshire in Scotland. I think what attracted me to Little Sparta was this idea of a personal artistic space that was loaded with invested meaning, by which I of course mean poetry, allegory, and revolutionary symbolism connected to pre-Christian mythos. The garden features a “Temple of Apollo”, which is dedicated to the god Apollo, his music, his “missiles”, and the Muses. The Temple is apparently meant to represent a thematic attention to certain ideas about civilization, violence, tenderness, and sublimity meant to be conveyed throughout the garden. Elsewhere in the garden there’s a golden bust of Apollo’s head, with the name “APOLLON TERRORISTE” inscribed on the forehead. This icon of Apollo is modelled after the image of Louis Antoine de Saint-Just, one of the leaders of the French Revolution, and invokes the myth of Apollo slaying Marsyas after defeating him in a music contest (incidentally, the Little Sparta website claims that Marsyas won the contest and was thus punished by Apollo for it). A quote from Saint-Just, “The order of the present is the disorder of the future”, is depicted in an inscription somewhere in Little Sparta. Several other inscriptions can be found on the various sculptures scattered throughout the garden, all of them meant to carry some sort of poetic message that Finlay meant to express.

One comparison that I find to be potentially significant is the comparison to sacred groves. Prudence Carlson, writing for The Financial Times, suggested that Little Sparta – along with another garden he created called Fleur de L’Air – represents an expression of the concept of the sacred grove. This is supposedly illustrated by the seriousness of the undertaking of its creation, and also the extent to which it renders the natural world as a place of solitary ideality set apart from the ordinary “world of man”. Of course, we may remember that an actual sacred grove is specifically uncultivated land that is set apart as a place for the divine to be communally observed. Still, it is probably possible to make a connection by the way of the concept of a space that is “set apart” as a site of meaning, including individual meaning.

In the context of a magickal framework, this means my equivalent of Little Sparta would be a place upon which my Will is embedded through edifices of creative expression that imbue individual meaning. A daemonic habitat that constitutes the power of a subjective universe, or perhaps a lasting physical link to said universe. An island into which perhaps a “magickal self” might flourish and enact itself, perhaps. The home of the artistic persona, and its identification with the divine.

I, to reiterate, don’t really have the clearest idea of what that garden would consist of. Space to practice swords is a no-brainer for me, though Shahin’s Nietzsche and Anarchy has me thinking about taking the concept of “idea-weapons” and giving them the form of aesthetic expression. Obviously the place would be stamped with expressions of individuality, especially in an esoteric way, and ritualistic and occult trappings alongside depictions of pagan gods and divine demons would be a must-have for this space.

Back when I was starting college we had an induction week and I remember the main project we were doing was to get into groups of two and work on a flag for what was going to be a display. We were supposed to base the flag on objects we brought from home – one object per person, so two per group. I brought a very strange wooden animal head that my grandfather had, it was like the head of a buffalo on one side and that of a hippopotamus on the other. That became a big red buffalo head, meant to denote some idea of personal strength. I thought of it as a flag of freedom. I was then again the odd one out, not just for its theme but also, as far as I recall, for having the only one of the induction flags whose background wasn’t white. Perhaps some day I might revisit the idea, and create a new, similar banner, as the banner of the garden of warlike individuality.

The idea of it as a “sacred space” or “ideal space” can, in Pagan terms, intersect again with the notion of devotional offering as previously discussed. A distinct enclave of will, of concentrated subjectivity, perhaps including the elements of gods or demons, may contain potential in relevance to the link, established through Phil Hine’s concept of Invocation via mask work, to “performance”, in the ontological sense. You have created your own “sacred space” for yourself, but this “sacredness”, this setting apart of creative will in physical form, may be extended in devotional terms, that will reaching out as an offering of spirit to the realms of divine power. Perhaps it pleases them as the dedication in itself does, and the point of all that is to elicit the larger work of divine identification and actualisation of which the mortal and the divine are both a part.

Alchemy, Carnal and/or Otherwise

The aim of art is principally expression and to develop means of expression, even if that is so that it can be enjoyed by others (which, in turn, is so that you are happy). Kink is another means of self-expression, one much more intimately connected with the enjoyment of an other, and as I read certain books about BDSM more I tend to think that there’s a role that a certain magickal understanding of BDSM can play in the broader creative philosophy. Granted, this is all possible principally because I happen to have that kink myself. I don’t want it to come off as some mere rationalization, rather a part of the “unity” of psychic life in the context of philosophical praxis.

The book Carnal Alchemy: A Sado-Magical Exploration of Pleasure, Pain, and Self-Transformation by Stephen Flowers and Crystal Flowers (the former of whom I normally don’t like) has been a surprisingly interesting source for ideas on how to imbue your kink with a distinct religio-magickal context. But, for my purposes, it would actually be better to start with a discussion of Marquis De Sade. The Flowers’ refer to Geoffrey Gorer, who in The Life and Ideas of the Marquis de Sade presents his definition of sadism (or “Sadeanism” as the Flowers’ put it) as “The pleasure felt from the observed modifications on the external world produced by the will of the observer”. A very simplistic interpretation of this idea would have it that all of magick fits this definition and is thus “sadism” in its own right. Indeed for Gorer himself it can encompass a broad array of activities: from creating works of art to blowing up bridges, as long as it represents a modification of the external world as willed by the agent. In fact, it is perhaps especially applicable to the Artist, whose magickally application of their is the impression of their individual subjective universe and therefore Will upon the objective world. But putting aside the question of the extent to which masochism fulls under the general magickal applications of this (and I’m convinced that it does, but I’m not much of a masochist to know precisely how), it also connects with the sort of creative-destruction (to which Mikhail Bakunin in his own way referred) you see locked in the basis of life, and from there a broader appreciation of the darksome kernel of pure reality.

Imagination is an important part of the worldview being discussed. The character Dolmance in Philosophy in the Bedroom says that imagination is “the spur of delights”, upon which all (presumably at least in the realm of pleasure) depends and by which the greatest joys are known. As the Flowers’ note, the exercise of willful imagination is thus key to extending the possibilities of individual pleasure, which is thus understood as the cultivation and enactment of fantasies, in order to transform yourself through such acts of will. This is meant to be understood as “in accordance with Nature”. The “law” of Nature is pretty frequently invoked by De Sade’s characters as justifications for their actions, which are often outlandish at best and downright tortuous at worst, but the key theme there is that human vices, as much as “virtues”, are part of the workings of Nature, since Nature seems to allow them to take place. On the basis of this idea and the mortality of human beings, there emerges the argument that destruction is part of the “laws” of Nature, an indispensible one in fact, without which Nature cannot create. Incidentally, one of the interesting aspects of this worldview is that, on this basis, death itself is not actually the annihilation so frequently discussed in modern atheist circles but instead merely the re-arrangement of matter. In Justine we see this idea expressed by some of the characters, one of whom says “What difference does does it make to her creative hand if this mass of flesh today wearing the conformation of a bipedal individual is reproduced tomorrow in the guise of a handful of centipedes?”. What matters about this, though, is the extent to which Nature and Will/Imagination interact. Your subjective universe is as natural as anything else, insofar as Nature allows it to exist. Nature refers not merely to that which is outside of human civilization, but to the system of life and processes that all things are a part of and outside of which nothing really exists. Unlike De Sade I see the nature of Nature as a kind of spontaneous negativity, an always fertile Darkness, not a body of purposive law. Nature is a creative system with perpetuation as its fundamental trait, and those who create and assert their own subjective universes, even to the extent that it alters their external world, may be said to be in tune with Nature, at least in their own sense, whether that its following Nature or following their own nature.

Returning to the focus on BDSM in Carnal Alchemy, “alchemy” is basically the watch word here. The Flowers’ elaborate that their concept of Sado-Magic or Carnal Alchemy is in essence an extension of the old idea of alchemy: turning lead into gold is thus translated as turning pain into pleasure and power into powerlessness. The phrase “solve et coagula” (which you’ve doubtless seen on the arms of Baphomet), meaning the breaking down of a substance into constituents and then recombining them into perfection, is then interpreted as the submissive undergoing that same process by their ritual submission to the dominant as the object of transformation into perfection. The dominant or sadist in this framework is thus analogous to the alchemist seeking to create the philosopher’s stone, for whom the body of the submissive is a microcosm of the objective world in which they work their Will, taking on. On the other side of this equation, though, the submissive is actually the power that the dominant strives to work with and develop magickally. This alchemy for both parties can also entail a form of identification: the dominant, or a certain type thereof, may identify with the “tortures” inflicted on the submissive, and both partners by way of the principle of sexual magick may even identify each other as the God in each other. From a certain point of view, the dominant may even be seeking to perfect themselves as much as the objective world through the bondage they practice upon the submissive. Self-perfection, of course, is a magickal aspiration, especially on the left hand path, going hand in hand with divine identification.

From this standpoint, though, the connection between the dominant/sadist and art is well-explored in the Flowers’ book. The dominant’s role and the pleasure the dominant feels through it is likened to artist working in their medium, like Michaelangelo taking pieces of marble – specifically pieces that he believed contained the image he was looking for, and upon which he used his tools to “liberate” that image. The dominant through their ritual enacts their subjective will into the world, and liberates and transforms the submissive because their ritual fulfills their desires.

Another discussion of alchemy in relation to kink can be found in Carolyn Elliott’s Existential Kink. Admittedly it’s very self-helpy, and its discussing of embracing kink is decidedly fixated on the submissive side of kink, but we can take on a generalized perspective in its discussion of alchemy. Alchemy is likened to the process of individuation, which Elliott relates to as The Great Work. Partaking in this Great Work sees the individual consciousness evolve and integrate such that it expands its own possibilities for “seeing and acting upon beautiful worldly opportunities for fulfillment” – or, perhaps in better terms, to enact Will in the world. By establishing a unified mind, and then from there attaining a “one world”, you attain a sort of “embodied unity with reality”. This process involves the integration of that part of you that is disowned by the “ego” (I can take this to mean normative consciousness), thereby changing the locus of your own agency in alignment with the “kinkier” and “darker” whole of the self, which results in the cultivation of genuine individuality and, through the fulfillment of the Great Work, a greater ability to manifest will in the objective world. Thus Elliott frames her vision of The Great Work as an expression of the Left Hand Path (which she also calls the “lightning path”, because it quickly and radically transforms you).

I’m establishing a pretty strong thread connecting a sort of general principle of alchemy to the artistic philosophy by connecting it to kink, but that is not its only connection. Reiterating the way Liber ABA sheds light on the intersection between magick and worldly creative practice, let’s note Crowley’s discussion of Rembrandt: Crowley says that Rembrant took a number of ores and crude objects and from these he “banished the impurities, and consecrated them to his work, by the preparation of canvasses, brushes, and colours”, and then “compelled them to take the stamp of his soul”. In this, Crowley says, Rembrandt created a being of truth and beauty out of the “creatures of earth”. This is meant to be taken as an application of Crowley’s understanding of the larger process of magick, or more specifically initiation: here initiation is understood as the process of transforming “First Matter” into immortal, incorruptible, eternally individual intelligence. According to Crowley, this is how one comes to understand alchemy.

Moreover, I think there’s room to apply the alchemical understanding of individuation to certain forms of anarchist psychology. In their book, Nietzsche and Anarchy, Shahin argues from a Nietzschean perspective that individuals as such are not born ready-made but instead have to be created, both by social processes outside of a person’s control and ultimately by the person themselves. The Nietzschean worldview that Shahin presents holds that most people are what Shahin calls “dividuals”, not “individuals”. For Shahin, an “individual” would be a person or body that has developed full psychological coherence, having a single, unique, self-directed, consistent set of values, drives, thought structures, and patterns of action, whereas most human beings, as “dividuals” do not and instead carry multiple and often conflicting sets of drives and patterns, some of which are far from self-directed. The aim of individuation, in this sense, is to develop that sense of coherence, however ultimately imperfect even that may be, in order to become a fully autonomous and self-determining individual (well, again, to the best possible extent).

The alchemical metaphor here pans out when we take Crowley’s discussion of the process of initiation and then map it onto the context of Shahin’s Nietzschean self-transformation. In such a scheme, “dividuals” would correspond to “First Matter” or “creatures of earth”. “First Matter”, in alchemist terms, is a state of disorganized matter or energy, but in alchemy this is very specifically in reference to the state of primordial chaos that contains all possibilities of creation. Our “dividual” would not exactly correspond to this, save perhaps as an expression of the possibilities of chaos, but it is unorganized, at least in the sense that it does not necessarily organise itself creatively. Indeed, it is an all too obvious fact that we don’t simply organise ourselves under the direction of some discrete rational consciousness when we are born, and instead find ourselves dependent upon a system of social processes created by others. That’s where the arts of individuation and initiation come in.

Even if we learn the tools of our own self-reflection through the relationships we have with others, simply growing up in the set of social relationships we are born into is far from a guarantee of our individuality. In fact, it can be very easy to lose our sense of individuality, or even simply never cultivate one, within society. In fact, contrary to the insistences of common socialist narratives about the “individualism” of capitalism, life under capitalism finds many people in some ways “forgetting who they are”, losing sight of their individual aspirations and identities as they allow them to be entirely dedicated by capitalist stimuli or just forget about them as they set about “growing up” – entering the rat race and keeping up with social convention, whether they really believe in it or not, to survive in a society so tightly built upon it, all while probably being convinced that this is just the way the world works. Individuation means to break from that whole process, to change the locus of agency towards yourself, and in so doing changing from being disorganized, meaning in this case not entirely organised by your own direction and consciousness, to embodying autonomous self-direction.

A Short Word About AI Art

Since this is an article about art in itself I would be remiss if I were to ignore the subject of artificial intelligence in art, and its surrounding discourse which has become very relevant to art as a whole. AI art, meaning any art made using artificial intelligence tools, has increasingly been the subject of major controversy in the art world. Many artists hate AI art, often because they deem it inferior to traditional art or even dismiss the idea that it is really art at all, and sometimes also accuse AI artists of stealing the work of other artists. Some artists, however, seem to believe that AI art is the future of art-making, even believing it to be superior to non-AI art. AI art tools very much available across the internet, often freely at that, AI art pieces have already been sold for tens of thousands of dollars at auctions, an AI art piece recently won a prize at the Colorado State Fair, and AI art tools are already being integrated into Microsoft’s family of software products. All told, it’s not for nothing that AI art is such a hot topic in the art world.

But what do I think? Or rather, how does it figure into my overall philosophy of art? Ostensibly, the answer is “not much”. For now, the use of AI Art figures little into whatever designs I have, and, admittedly, I think that the actual output of AI art tools is vey hit-or-miss. It could range from what’s basically a new wave of outsider digital expressionism, to complex algorithmic images that resemble old first person shooter games, to, if I’m being honest, mediocre and distorted parodies of traditional art, and at that some of the worst softcore pornography I’ve ever seen. On the other hand so much criticism goes down to the replication of form, and this comes back to how we define art.

In my opinion, it is impossible to define art without considering it as an expression of individual subjectivity. That’s not to say the depiction of form is absent from it, and for generations Nature has inspired countless artists with its abundance of form. But what counts is the starting place of art, the investment and reception of meaning from it, and that all derives from the relationship between the artist’s subjectivity and the world around the artist. Without subjectivity, without imagination, without abstraction, the capacity for art really becomes impossible, or confined only to illustration as a form of stenography. In simple terms, the mere repetition of forms is not in itself art. What is art is the conveyance of subjective relationship to it, even if it’s just a realistic depiction of the natural world. But if art is all about individual creative subjectivity, then art is also intimately related to the expression of individual will, and because of that, there are many ways in which art is not so far apart from magick, or indeed the precise sense in which Stanislaw Przybyszewski meant “the autocratic imagination of mysticism”. Art is thus not a collection of dead aesthetic objects, it’s not just “pretty pictures/paintings” as all too many people across modern political persuasions seem to think it is. To simplify: art, at base, is will.

So how does this tie back to AI art? Well, the idea that it’s “not real art” is really not a matter of objective fact. What counts is the extent to which AI tools allow the individual artist to express creative subjectivity in a completely self-directed manner. And in this regard, especially when it comes to proficiency, I believe it’s fair to say these tools need some work. But one thing I think about is what would happen if AI tools crossed into video game development? After all, video games are in themselves a form of art in their own right, even if it’s not something like Disco Elysium or Death Stranding, despite what our consumeristic conditioning would have us believe. The difference from other artforms, however, is that video games tend to be collaborative projects, since their design typically depends on the efforts of a team of developers working in tandem with each other. Multiple subjectivities are invested in development, leading to contradiction between them, and more often than not some visions prevail at the expense of others; and if it’s not one part of the design team over another, it’s the corporate hierarchy and capitalist markets over the developers. This is especially true for projects meant to follow the current industrial standard – “AAA” games, if you will – but it is no less true for indie projects in large part. Perhaps one person can do it, or more realistically just two, but it can be incredibly difficult and taxing labour, and one project could probably take many years to finish. So imagine if AI tools could be developed that would allow an individual artist to create an entire game effectively by themselves, its content dictated by their own individual subjectivity?

It sounds like a wild and fantastical idea, but I do remember seeing a few lectures back in university where people would discuss artifical intelligence in design and, in turn, discuss exactly this possibility. It was pretty exciting, thought at the time I couldn’t receive it without the same latent fears that many others have. From the same standpoint of individual subjectivity, there also arises the fear of the loss of its investment in traditional media. After all, we’re told that it’s just “the machine doing it all for you” – ignoring of course the fact you still have to give it input, and no doubt fashion the raw output that proceeds from it to your liking. But what if far from displacing the labour of the individual artist, and far from merely compensating for a lack of artistic talent, it could actually free individual game designers and their creative development from the dominant industrial relationships of collaboration, in which their subjectivity must contend with the propsect of getting drowned out by both capitalistic interests and your colleagues?

That whole world still has a long way to go, and to be honest I have no idea how to balance all of this with my longstanding skepticism of the positive potential of artifical intelligence as a whole, but to reiterate, in the end what matters is the possibilities that it affords the expression of individual subjectivity. If I were you, I wouldn’t worry too much about your jobs being taken away by it. If you’re really serious about that, you should turn your gaze towards capitalism as the real enemy.

The Art As Esoteric Anarchist Prefiguration

Let’s return to Nietzsche and Anarchy for an overview of the concept of projectual life. Projectual life is the conscious self-direction of one’s individual life towards one’s own individuation. This is in the sense that it’s the conscious project to move away from the herd and its passivity towards the development of an active embodied consciousness capable of demonstrating a continuous lived resistance to the world. Drawing from Nietzsche’s The Gay Science, a Nietzschean view on projectuality emerges from Nietzsche’s description of self-transformation. In The Gay Science, Nietzsche’s idea of this would be “to give style to one’s character”; an art, and a rare one at that. This art comes about through the surveyance of one’s personality or character (Nietzsche and thence Shahin prefer the term “nature” here) so as to transform all of your strengths and weaknesses into artforms. The aim of the constant process of projectuality is to develop a creative self-consciousness to the extent of concentrating the locus of agency in the self and transforming the psyche to become, as Nietzsche said, “those that we are” – that is, an individual, a unique self-creating body that can administer its own law unto itself. By my interpretation: this means an individuated being with the perpetual power to manifest their Will.

There’s a few things to note about Shahin’s idea that make my interpretation sort of different. For one thing, Shahin seems to resist thinking about projectuality in relationship to will. But I tend to think it’s not possible to separate projectuality from will. Besides the simple fact that will in a somewhat mundane sense and the ability to exercise it (even if it is not perfect or fully discreet) is absolutely necessary affect the change and transformation entailed in projectuality, the throughline we can get from understanding projectuality dovetails fairly nicely with Crowley’s discussion of alchemy and initiation. The process of initiation as a transformation from “First Matter” or “creatures of earth” to “an immortal, incorruptible, eternally individual intelligence” is not so alien to Nietzschean projectuality. One starts from the base, that base being the complex dividual body, and progresses towards individuation, the Nietzschean individual being in many ways the “intelligence” Crowley spoke of. The difference, besides perhaps Crowley’s methodology, would be that Nietzsche arguably would not have thought of his individual as entirely discrete even in the process of individuation.

The other thing, of course, is the way Shahin appears to define projectuality in opposition to what he calls “negative nihilism”, by which he seems to mean a reflexive mode of rebellious action without (or indeed even against) any kind of affirmative project or new set of values, without which, they believe, it is impossible to do anything except revert to despair, self-destruction, conformity, and submission. I think that this is just nonsense. For starters, Shahin is in this context not speaking strictly in individual terms. When Shahin says “we can only destroy the values, desires and cultures that destroy us if we also create and affirm new values to take their place”, we have to understand that “taking their place” means to create a new overculture whose “place” is the domination of mass valuation. No anarchy will be complete unless it can rid itself of precisely this. If you want new values, make them for yourself and live them yourself. After all, from the standpoint of any consistent ontological application of nihilism, that’s all you’re doing this for: there’s no objective teleological value in the universe, you value and create values because you want to do so, therefore do it for your own sake, your own desire. That ultimately is Shahin’s starting point, since Shahin engages in projectuality because they desire freedom. More to the point, projectuality framed as the idea that you can live joyfully towards the construction of liberation/freedom is not only not somehow “anti-nihilist”, the anarcho-nihilist concept of jouissance is, in itself, a fulfillment of projectuality by much of the criteria Shahin sets out. If the anarcho-nihilist already accepts the premise that their business is to live joyfully even in a world that they believe will not be saved, then projectuality is already part of nihilist praxis.

All of this, however, is ultimately a tangent. The real point is to establish what projectuality has to do with the Art. It connects to the extent that individuals may prefigure real freedom in their lives through the application of meaning through ritual and will, through our interaction with some decidedly non-rational structures of life.

Unlike some anarchists (including many “classical” anarchists and probably including Shahin as well) who reject religion as such, I am fairly convinced that religion and especially occultism are ways by which an individual may cultivate a form of projectual individuation. It is true that you don’t necessarily “need” religion or occultism to “be a good person” or “have morals/ethics” as such, but then what if that’s not the point? Anyone can be a “good person” through the consistent application of either personal or shared ethics. Likewise, “community” is also irrelevant to what I consider to be the value of religion. True, religion can seem to play a role in forming strong social bonds and communal relationships, but this is no proof that this is itself the value of religion – indeed, we have ample proof that it can even be a significant downside for those who don’t conform to society. “Cohesion”, too, is similarly a red herring, since secular societies are just as capable of producing “cohesion” without religion.

The real value of religion, along with occultism, consists in the precise relationships that these generate, the extent to which one may identify themselves with the divine, and from there, cultivate individuation. It consists in the extent to which the pattern of ritual (perhaps thus “re-legere”, the Pagan definition of religion) allows us to develop individual coherency and autonomous consciousness in collaboration with the numinous, through channels of meaning such as myth and ritual and non-rational communion with divine reality (or perhaps the Darkness of “pure” reality). Admittedly, many mainstream ideas of religion don’t necessarily acheive this, perhaps even basing the value of religiosity in something entirely different, and “organised religion”, by which we mean the institutionalisation of religion as hierarchy, is simply worthless in this regard. But that’s the bath water, and not the baby, when discussing religious experience. If projectuality in Nietzschean terms is an art, so is ritual, and ritual itself can be thought of as posessing projectual aims in itself, at least insofar as their aim is the Great Work. Still, there is the argument to be made that even in the more “established” religious traditions we may find magickal sense in their practices of contemplation, at least from the purview that the idea is to immerse yourself in all of the sacred images and patterns in religious contemplation so that, in this contemplation, you may imitate them. I would interpret that as in some way a means of identification, but, I would stress that most religions don’t share the ideas and aims of divine identification that I have, from my starting point within the Left Hand Path. Nonetheless, I would say it’s a useful way of making sense of religion, the good side of it anyway, or at least an aspect of what religion should be as a function. I would also suppose that it’s the different approaches to imitation, contemplation, and identification that really give concrete definition to the Right Hand Path versus the Left Hand Path as we understand them in modernity: one, the Right Hand Path, positions imitation as harmonization, to “imitate the divine” as a vessel for it so as to accord oneself with it or with the “right order”, while the Left Hand Path positions imitation as apotheosis, to imitate the divine so as to ontologically become divine, join the divine, and achieve a sense of spiritual equality with it.

But perhaps all of this links to a much broader concept found within the tradition of anarchist thought: prefiguration. Prefiguration, or “prefigurative politics”, simply refers to the idea that our actions and relationships in the current world should strive to reflect the new world that we wish to bring into being. Some people have summarized it in that famous saying “be the change you want to see in the world” (which is often erroneously attributed to Mahatma Gandhi), and I’d say that’s not necessarily incorrect. Prefiguration entails a micro-political practice of harmony between means and ends, which is fulfilled by the desire to embody the values of the desired to new world via the relationships built upon anarchistic prerogratives, or the spread of behaviours that generally follow them, in order to meaningfully establish the social possibility of life without authority or hierarchy in real time. This often means the rejection of consequentialist, utilitarian, or instrumentalist ethics (such as attributed to Marxism-Leninism or more “centrist” tendencies within the Left) in favour of what some might argue to be a radical interpretation of virtue ethics. There are critics even within anarchism who see the concept of prefigurative politics as pregnant with the notion of apocalyptic imminency, akin to a Christian idea that God’s will/plan for our salvation is prefigured almost fatalistically in our preceding actions, which is then translated into the belief in revolutionary imminency – that is the historic inevitability of the revolution, typically associated with Marxist orthodoxy. But I completely reject that comparison. Instead, I tend to believe that prefiguration in its most sincere sense relies on the understanding that we have no such guarantees, we cannot derive such guarantees from any external source, and there is no final point of moral authority or fulfillment, and so if we are to enact major social change or enjoy the fruits of our desired world we are thus entirely dependent on our own consistent programmatic actions.

So where does this position religious life, the occult, and the Art? It’s absolutely true that you don’t “need” religion in order to “be a good person” – except is that necessarily the point? I suppose the answer to that depends on our criteria of “good”. But what counts is that in order to be able to prefigure the world desired on anarchistic terms, then it is fundamentally necessary for individuals to prefigure the mind for that very possibility so as to set the possibilities for action or behaviour. This means that, despite what such figures as Frére Dupont might suggest, it is entirely necessary to centre consciousness, and I thus mean prefigurative consciousness. Now what if a person were to ritually dedicate themselves to their own individuation? For a person to pursue the Great Work means to partake in the transformation of individual personality through ritual and esoteric means, to become the philosopher’s stone, to achieve alchemistic perfection as a beacon of freedom. People think themselves free only in the secular means by denying all spiritual concepts and forms, but what I see in modern societies and radical spaces increasingly convinces me that this is probably an illusion, and at that hardly less an illusion than the supposed authority of God. But in ritual pattern and praxis, there is an obvious extent to which the psychological affectation associated with religious life and myth may arc towards liberatory ends and, thus, make for effectual means. For better or worse, I believe that the Left Hand Path as we understand it contains this idea within itself.

In this framework, so-called “lifestyle anarchism” emerges not as the handmaiden of bourgeois rule but instead as simply a dismissive byword for what consistent anarchist praxis can look like if it is projectual and prefigurative. For this, we should see fit to reject the influence of Murray Bookchin’s critique which still haunts the “social-anarchism” of the present in favour of its opposite. What I call Esoteric Anarchy locates this value in the study and practice of esotericism and ritual as the locus of projectual individuation, which is then thus the ground of prefigurative politics. If the simplest end of magick is change or transformation on behalf of the person, if it is the art of will reshaping the inner and outer world, then Esoteric Anarchy is the recgonition of this as prefiguration, as the means and the end in themselves. Indeed, I believe that this understanding also applies to the way Phil Hine, at the very end of Condensed Chaos, talked about the concept of gnosis. Here, gnosis entails experiential magickal knowledge that then transforms you and becomes the basis of a new mode not merely of thinking but also, crucially, of acting within the world. This is what Phil Hine calls “Knowledge of the Heart”. Experience here is the secret language of magick, passing into it is required in order to grasp esoteric meaning. Thus the magickal transformation of the inner and outer world is a process in which the praxis of ritual and gnosis set the basis of the magician to prefigure themselves and the world around them in thought and deed.

Even in John Michael Greer’s Blood of the Earth, which unfortunately betrays a markedly conservative outlook, we can see relevant links in the significance of magic and occultism to prefigurative politics. In the last chapter, summarizing basically everything discussed in the book, Greer establishes that magical training, in practically distinct system with its unique tools, can allow the individual to liberate their minds from the limits of collective consciousness and what he calls “mass thaumaturgy” in order to better prepare themselves for the crises set for what believes to be the end of the industrial age. He then adds that, once this is done, the magician then has to bring their magickal work down into the material plane and anchor it with actions, a practice he associates with seemingly all of the old philosophies of occultism. If we throw aside all of the major ideological presumptions that otherwise attend his discussion of magic, a major takeaway that is no doubt of some value is that the indiviudal, and the extent to which the individual affects and alters their own life in accordance to will, is the starting point all the work Greer talks about. That’s basically the primary subject of prefigurative politics and Nietzschean projectuality: even if you won’t be able to do everything alone, it all has to start with you; you, as an individual, must prefigure an alternative way of life for yourself. And for Greer, both magick and the pursuit of lifestyles that break you away from the dominant set of industrial lifestyles affect changes into your individiual consciousness that set the horizon for this prefiguration in the material world.

From an opposing perspective, as an esoteric anarcho-nihilist ultra (just one way of putting it!), this can easily take a different focus; as in take out the ideological considerations from Greer, swap it with different set of said considerations, and the throughline remains more or less the same. You must be able to prefigure a world no longer guided by authority, hierarchy, or the total order of things, and hence a world in which you, and your communities, must rely on yourself and each other autonomously. You must prefigure the world after the world, a world beyond good and evil, a world where the last chain is scattered into the wind. That is enormously difficult to imagine within the shell of the current world, no doubt nearly impossible in the minds of most people. But by establishing new modes of autonomous life you become an example through it that imagination becomes very possible for more people, which in turn spreads the mode of prefiguration across social life. Magick can hardly be discounted from this effort, since the object of magick is the transformation of the inner and outer world through will, as I believe all of the occult authors discussed and the tradition of occultism at large typically all acknowledge.

Conclusion: The Art of Satanic Paganism

Before really summarising the form and relevance of all of this I think it’s worth really focusing on art as a creative medium where you really see the occult connect to creative work, and not only this it permeates creative media with its inspiration. Would you believe me if I told you that you wouldn’t have Martin Scorsese without Kenneth Anger? Because it’s true. He inspired Martin Scorsese, David Lynch, and from there surely countless other directors. Would you believe that Dan Aykroyd was a little bit into occultism and that this even went into the initial development of Ghostbusters? Because that’s true too. In fact, this is probably referenced in Ghostbusters II, where Dan Aykroyd’s character Ray Stantz owns an occult book shop called Ray’s Occult Books. Everyone knows about David Bowie, but I wager not that many people are aware of the fact that he based lyrics for whole songs on occult themes, often especially drawing from the quasi-historical Morning of the Magicians, and even fewer people know that he literally believed in magick. Some more people are probably more familiar with Jimmy Page’s enthusiasm for Aleister Crowley. Returning to the subject of visual art, though, I could easily point to the art scene of fin de siecle Germany, in which we see artists whose work is deeply inspired by esotericism and pre-Christian myths, even to the point of there being whole personal artistic cults to gods and spirits such as Hypnos.

There really is an extent to which the occult can often be ubiquitous in the creative world, and I really do believe that this comes down to the horizons that it contains for the pursuit of individuation. Neville Drury in The Occult Experience talked about how there is a gap between what we think we know and what we feel, between (what we believe to be) the limitless horizons of knowledge as pertains to the world around us and the comparative miniscule knowledge we actually have about ourselves, and fields the possibility that occultism offers a bridge between that gap, that it can “take us beyond ourselves” and “to the infinite”. I believe that John Michael Greer, from the perspective of Paganism and deep ecology, makes basically the same point in Blood of the Earth, where he talks about how magick serves as a valuable response to the world after peak oil and mass ecological crisis.

I also think that all of the major considerations presented tell us that the ontological aspect of the conversation around magick, while definitely not unimportant, almost finds itself de-centered. One of the better points of Blood of the Earth is the overview of just this ontological question. Greer says that within a year or two of consistent ritual practice the magician begins to have real experiences with spirits, powers, planes, and all the other major metaphysical stuff, and establishes that these are mental experiences, not physical ones. They may be real, but they are real in basically the same sense that dreams are real. This has lead to questions and debate across occultism about their ontological status, with propositions ranging from hallucinations, to dissociated complexes, to Jungian archetypes, to actual extradimensional entities. There has so far been no way to establish any ontological certainty to comport the experiences of the magician, we have no real answers in this regard. But what if that doesn’t exactly matter? It’s the gnosis that counts, the possibility of experiencing the Great Work, the prospect of cultivating and applying your will, and thereby prefiguring your own freedom, that is what counts, and I do think that as long as that goes you don’t have to worry about ontology too much – but I will say you really should abide yourself by ontological agnositicism, especially in the Satanic sense.

And speaking of Satanic, I think that at this point we can begin summarizing what all of this means within the broader polycentric framework of Satanic Paganism. I think I’ve gone out of my way to elaborate some of the major contours of that philosophy in relation to artistic praxis throughout this article, but more can be said here. The Art, in this sense, comes to mean the creative application of the basic goals and ethos of Satanic Paganism, which can sort of be summarized as achieving individual apotheosis through ritual identification with the divine and the shattering of normative consciousness, or really all illusions that defile both human freedom and knowledge of deep reality or nature. Prefigurative politics in this setting means being able to live in a cultivate state of relative self-perfection, internal autonomy, consistent individuation and lived manifestation of will, wrapped in the full embrace of the dark, creative-destructive core of divine reality; a sort of ontological inner freedom that echoes into the outer world in will, and through the example of prefigurative life. I almost think of it as what the idea of the Anarch should be and would be if it were not an almost entirely passive subject.

In the view of Satanic Paganism, the Art is the medium in which the divine and Man actualise each other, prefiguring a world where everyone is a star. The Art is the creative effort of the religious magician directed towards their own apotheosis – it is will, striving towards that goal. The Art is the application of creative subjectivity in aesthetic, ritual, and/or projectuality at large. The Art is alchemy; it is how the individual goes beyond itself in order to become itself. The Art is in so many senses the vehicle by which Anarchy is made manifest as a practice of everyday life. The Art is the form of the transvaluation of values. And of course, The Art is also a spiritual weapon in the fight against the Demiurge and against all tyrannies and the domination of order.

And so, within the purview of the philosophy of Satanic Paganism, The Art is a way of conceptualising creative praxis as a vehicle for the broader goal of apotheosis. You could say it is an indispensable part of your journey; to paraphrase something I remember Michael Bertiaux saying (and I swear I wish I could find you the exact quote), you must be capable of producing The Art. A person seeking individuation must, in their own way, even if it doesn’t mean they are “artists” per se, be able to practice and develop The Art. From the perspective of esoteric anarchism this makes The Art an essential medium of prefigurative politics. This also means that the idea that occulture and religion are entirely apolitical is, from this perspective, not only false but also antithetical to any consistent practice of The Art.

And so Satanic Paganism itself can be thought of as a religious or religio-magickal worldview that is dedicated to the realisation of The Art. Thus, we who adhere to this philosophy should, to the best of our ability, to develop, cultivate, practice, and perhaps “master” The Art, and study this practice as much as we can, in order that we might fill this world with unbridled daemonic life, and produce a world truest to that classic axiom of occultism; a world where all people are stars.