The will is a difficult issue in accretive theory insofar as when we consider magickal acts we associate them with the application of the will. Predetermined harmony/psychological reducibility concerns aside, the phenomenology of magick would seem to entail that the will seeks to alter events to its nature. Elsewhere we have used the definition: ‘to apply a concept to a vector that would not naturally take it’ to define magick. That is, there exists the status quo (a vector region (the how things are) with a description which suits it attached to it) which we are unhappy about. As a sorcerer we create a new concept (the idea of how we would like things to be), we then attempt to apply this concept to the vector region in order to try to replace the current situation with a description (concept) of our own.

The issue here is that in order to replace the current description we seem to need an extra element: will. The will is not what we want (though conceivably we could will to augment it itself), the will is how we want. The differentiation between magickal acts and regular ones is largely going to turn on the application of the will to alter the description. We may often dislike the description of the (a) situation but in regular life often either accept the unpleasantness or seeks to change the situation from within the regular rules of reality. For example, if I do not like the table being dirty I can change the description by cleaning it. In doing so I have used my will and my physicality.

In magickal acts we seek to ask the accretive powers to impose themselves upon a situation without our necessarily doing anything other than the magickal ritual itself. We might following such a request, notice a favourable circumstance arise which then requires our action to realise the full description alteration, but this too would (if we were in a mode that accepted this kind of thing as real) be taken as a response to the request.

The act of ritual is supposed to focus the will in order to connect with the possibility of altering the description. This is how magick shows itself. Something like the conceptual substrate (pneuma) postulated in a lot of the work on this site is necessary for any kind of chaos magickal picture. It may or may not have a further underneath (the umbratic), though the phenomenology would suggest there is such an extra. This picture seems to us sound, except that is for the will itself. Is the will then an extra element that emerges from beings of a certain complexity? Or can it be reconciled more obviously into the pneuma insofar as to see something as willed for is to add an extra conceptual layer to it i.e. when I see something I want, that I want it is part of the concept of that thing/situation.

There seems to be something to this latter account, except we driven to a certain kind of vector field explanation. In its simpler version the vector field is the transcendental realm of stuff behind perception. Different regions of it are given different names, objects, smells, etc. So there is a vector and concept or pneuminous accretion which is plugged directly into the vector. But here we are forced to recognise a different kind of vector region, a kind of affective vector region by which we would say of this feeling we call ‘anger’ ‘joy’ and so on. These affects are the regions, our culture gives us their names. Note that in accretive theory there is a feedback mechanism that makes the object more like the accretion (concept). Once formed, the accretion is attached to the vector. By means of a low level magickal effect, the attached accretion seeks to make the vector region more like itself pure ideal nature. The effect is negligible, but it is there. With respect to the affects, this will no doubt be in evidence and may be exemplified by the reification of the emotions. That is, the naming of the emotions, the attaching of accretions to these vector regions, will make them more like their ideal forms and reduce emotional variation in general.

But again the will is not so easily trapped. We look upon a thing as desired and to us that thing evokes this sense of longing for this thing. There is definitely an attachment going on there in such an instance. The desirableness is attached to the thing -not in ourselves, though it comes from us. But a kind of passive desire does not entail the will has been engaged to obtain said thing. Even on an ordinary level we might long for something and never act upon this desire. So desire is neither a necessary or sufficient condition for the engagement of the will (for I might desire something and not will it and I might will something yet not desire it).

This points to a certain sense of the will being, both in its magickal and non-magickal application a kind power that we may bring to bear to alter the description that is in some sense possible to abstract from the affects. This does not undermine the application of the vector notion to the affects but it does slightly undermine the relevance. The question then remains ‘what is the vector that the concept will is applied to?’ if it is not an affect. It would seem to be its own kind of force. An internal directedness that may manifest either as a call to a series of actions in regular reality that seek to bring something about, or the idea that the application of the will by means of a certain magickal concentration (for want of a better term) may bring about an alteration in the description of a situation that is more in line with with the one willed. Such a situation may well be desired and indeed often is, however it seems to us that there is a certain uncoupling of will and desire necessary to get at the grammatical sense we are after.

This revealing does indeed seem to indicate that as a component of a magickal phenomenology, whilst still a concept and as such an accretion, the will is a kind of special case of that which must be presupposed for active forms of magick. It is the means by which we tap the accretions when we seek to alter regular solid reality.

This synthesis is a long time coming. The whole of pneuminous accretive theory thus far is born of Husserlian/Heideggerian phenomenology, the later Wittgenstein and chaos magic. I can hardly have failed to be aware of the pathway opened up to occult thought by D&G, very specifically through the CCRU. Though this doesn’t seem to do D&G justice, it is possible to read TP as if  they actually allow the possibility of sorcery. Philosophy doesn’t really like sorcery, philosophy doesn’t really want to deal with it. This is understandable, magickal effects are easy prey for scepticism. If you want to create systems that give solid epistemological results then magick is not going to help.

Like sorcery itself D&G seem to hover on precisely the agnostic disjunctive border. It is perfectly possible to read the sorcerous references in TP as just analogy for how things function (capital, assemblages in general)  whilst accepting a broad albeit Spinozist materialist kind of ontology. It is also possible to read it as if any ontology therein is utterly open the actuality of magick. Such a reading would mean assemblages as crossing different strata would not just be crossing over layers of materiality, it would have to include connecting lines that crossed time, that crossed worlds. A synchronicity as assemblage.

The influence of Castaneda on TP does not seem to be readily understood. Maybe the ridicule that Castaneda’s works received have brought about an airbrushing. Brent Adkins’ guide to TP contains not one index reference to Castaneda and yet if you have read Castaneda it is startlingly obvious that TP draws on it massively. Castaneda is certainly mentioned overtly but the line of flight is mentioned many times before it is made clearer that this too seems drawn from there. In Castaneda’s system, luminous fibres extend from the egg shaped energy blob of humans. This world is carefully described to not be thought of as luminous eggs wandering round in the same kind of space-time as we normally experience things. The fibres extend not simply in space but in directions we cannot conceive. They are lines of flight connecting things in a very real sense by contagion. The egg is a theme that peppers D&G which may not be drawn from the luminous egg yet certainly they were aware of this resonance. The key term assemblage itself may be taken from the Castaneda’s term assemblage point -the point of light in the luminous fibres that determines what reality we will experience. It may be that they do indeed just appropriate the ideas to deterritorialize them but equally maybe the usage of such material is there to hint at the extreme possibilities available in becoming.

In the pneuminous accretive theory I have been developing over the past 8 or so years we say that if such phenomena obtain and we bracket off magickal objectivity (this colour, smell really means such and such etc) then we are left with conceptuality being formed of a more active principle which is, under certain circumstances capable of altering what looks like solidity. This active principle we call the pneuma; it gives conceptuality the nature of a substance in the sense that it can interact with what we take to be the regular solidity of the world. All concepts are what we call accretions of pneuma: concepts stuck to concepts stuck to concepts: a multiplicity. Each accretion is formed around a signifier which enables its designation to function both in a regular sense and a magickal sense. Here we see the line of flight in action. When I think of something I am connected to it through such a pneuminous line. The thought is the accretion. They are not two separate things.

In considering D&G then we need to emphasise the sorcerous aspect by basically saying ‘if we treat the work as it is ontologically open to the possibility of magick then how does it account for it?’ Furthermore can we translate the accretive theory into language of D&G to productive effect?

I cannot make detailed progress with this today but I do note that there is clearly something to be worked on with the accretion, the abstract machine and the assemblage. The accretive theory was partly formed as it answers the problem of designation by the pneuminous connecting line: this really means this and it does it like this. It recognises the molar stasis of things. The accretion is the manifestation of this stability, it often appears in an archetypal form, it subsumes its incoherent edges of possibility until reluctantly a new image overtakes it -think of how TVs have changed. A television is a part of a machinic assemblage. An accretion is pure concept, it is the shiny surface and what it does. To many it has the incoherent edge of technology: the necessity that technology runs it yet a general blank as to how it does so. The acknowledgement connects even the most naive TV viewer to the technological axis yet the television runs along so many others also: entertainment, status, sexual, favourite shows and so on. What seems to be happening (as I work this through) is that the assemblage notion can be seen to run within the pneuminous. The big difference I am feeling is that there is a kind of comfort with materiality in D&G that accretive theory feels the need to bracket off. But if there is materiality then there is no sorcery (?). This is why the analogy reading comes in. Sometimes the materiality is palpable in TP.

I think the key to exploring this is in to tease out how the same connections exist in accretive theory as do in the materiality of assemblages, except in accretive theory the whole thing must be continually held in the space of vector-accretion, every machinic component must be of this nature.

Does it make sense to call the vector-accretion dyad an assemblage? There is indeed a question.

 

Herbal medicine has a great deal of magickal thought in it. Untangling such thought from actual herbal actions is one of the missions of modern evidence based herbal medicine. However as per the agnostic disjunction the possibility shows itself that magickal interventions cannot be discounted no matter how strange the consequences may seem. The idea repeatedly dealt with by myself on this site is that conceptuality can be treated as a kind of substance that can be seen to be attached to all the regions of existence that we conceptualise. This idea is simply the extension of a chaos magickal ontology into regular philosophy. That is, if conceptual entities can be created then regular conceptual entities are not likely to be of a different order. The substantialisation means that the concept substance can seen as attached to an underlying, what we call ‘vector’ -called so because it plays host to the concept. Elsewhere on the CEO site the concept substance is referred to as pneuma and the sticking together of various concepts accretion (since all concepts are necessarily multiplicities).

It follows from this possibility that there may be accretions of pneuma attached to some vectors, which when examined from a scientific position appear nonsensical. Herbal medicine supplies an excellent example of this kind of thinking in signatures. The doctrine of signatures says that plants which in some way resemble an organ/body part/fluid may be considered as useful for treating the same part in the human. So in applying the accretive theory to this we would say that concept of that plant having a connection to that organ/part/fluid (all of which are also accretions plugged into vectors) is embedded onto the concept of that plant.

Such conceptual attachment is of course usually considered inert and any truth behind signatures is attributed either to chance or that the signature was attributed after the herb was known to be efficacious for a given complaint. These are perfectly rational responses, however all we wish to consider here is the interesting possibility that conceptual attachments due to signatures which have no healing function vector to attach to are actual as pneuminous accretions and hence potentially magickally effective. For example, if I have a plant that looks like kidneys and historically has been used for kidney complaints, then the kidney treatment concept has become attached to the plant (vector) and at a magickal level may well be effective all the way up until a scientific analysis removes this concept from the vector (because it had no actual healing constituents in it), after which it will be much less potent.

What is interesting in this notion of attachment is that, since the pneuminous accretions are not inert they may have potential other interactions with the vector (in this case the plant). Speculatively the idea is  that long term accretive attachment of a relatively consistent concept attributed to a vector over large periods of time could create a relation between accretion and vector that would be totally real at what we naively call a magickal level and yet utterly invisible.

A herbalist whom I respect very much says of the plant Iris that it is a facilitator of liver function which is the ‘the house of the ethereal soul or deep unconscious connecting principle’. Is this actually true? What do all these terms really mean? Does it make sense to ask if this is true? If we do not allow for something like the formation of contingent accretions then we would need a kind of spiritual objectivity/better understanding of the way the body interacts with the deep mind to be able to assess this statement. They add further that Iris as meaning the Goddess who used rainbows as bridges between the worlds is linked to the plant for precisely this reason i.e. that soul principle of the liver connects to the deep unconscious, Iris the plant is this bridge. The rich conceptual (accretive) attachment to the vector (the plant we call Iris) may all be metaphor that hints at actual processes.

However if the concept is not inert then there may be a more complicated feedback system going here. These principles of ethereal/unconscious connection through the liver could themselves be accretive structures projected onto a certain occult understanding of the body; embedded in a tradition such structures could function in an autonomous and real manner, literally forging the connection to the unconscious in the liver by the projection. A process of reifying accretive structures over the body vector, feeding back into the body through the pneuminous. The plant contains let us say some real physiological liver action, the vector of this healing action has accreted to it: the Goddess, the messenger, the rainbow bridge. The active pneuminous level of conceptual reality is plugged into the plant vector and its liver action. The magickal associations, the connections to the Goddess (herself and accretion) are (unless a kind of spiritual realism were true) totally contingent yet equally they have been there so long that it becomes hard to tell where vector stops and concept begins.

Of course this is speculation, yet equally that we live in a web of such deep historically constructed vector-accretion webs is only what is entailed by accepting the most rational version of magickal actuality.

 

The umbratic is a curious intersection of different ideas. It is necessary and unnecessary. Its necessity is derived from the fact the idea cannot be removed. It’s lack of necessity from the fact it is technically not needed.

What is it? The umbratic is the idea of the unseen. It is the incoherent phantasy of being outside of perception. It is the wood where no one is watching or listening. The idea emerges out of sceptical thought that attempts to answer the question: is being that is perceived identical to being that is not perceived? The resultant inability to answer this question leaves the agnostic disjunctive appearance over the answer: we cannot say if there is a difference or not. The phenomena that point to there being a difference are again the occult ones. The point being that in synchronistic/magickal phenomena reality has shifted somehow outside of our perceptual sphere -we mean this specifically to the exclusion of the manifestation of spirits/immediately visible/audible phenomena (these invoke different kinds of concepts). That is, we do not see the mechanism by which magick/synchronicity has occurred. There is simply an uncanny rearrangement of things that has the appearance of some kind of agency being involved. This appearance is suggestive of a radical reality rearrangement that was only possible outside of perception, hence the invocation of the umbratic as a space in which the rearrangement was possible. Of course this doesn’t entail that magick/synchronicity could not still be functional in a metaphysical sense without umbratic rearrangement. Such possibilities exist as attractor models: the reality alteration is brought about metaphysically in some way by bringing certain things towards the protagonist without literal finger clicking alteration (such models also entail accretive type entities). However, the fact that the sudden alteration model exists is enough to give the umbratic life.

One can think on the impossibility of the umbratic, on how a space that isn’t perceived is not possible, on how there maybe always something there to detect, to perceive. But the impossibility of the umbratic is not enough to defeat it. It is a strongly incoherent concept that thrives on that impossible sensation of attempting to think what it is to imagine a space that is not being perceived. From here it derives a lot of its power.

The umbratic is related to the thing in itself. It is similar to a perfect scientific object. Something without any observer bias. This is part of its phantasy. But all prostheses act with our consciousness, there are no reports back from the umbratic.

We can try to do away with it. In the pneuminous theory we can imagine that there is only the pneuma, only the conceptual stuff. The umbratic, as mentioned, becomes unnecessary. But the appearance of the beyond the pneuma, beyond the vector field is still there, the phantasy of the outside, the absolute beyond the human security system. So a pure idealism always generates the idea of its beyond which it can never ascertain the validity of.

The umbratic gives the idea of structure. In the Tractatus this is how it is often mentioned. This association is related to the pure idealist issue. The appearance of the idea that there must be something behind the image invokes the notion that this part is what does the holding together. This is reinforced by the way in which the pneuminous level of concepts seems so easily detachable from the vectors. The pneuminous accretions can be unbound from the vectors and clearly perceived in the mind (a field of pure pneuma).

Does this mean the vector field and the umbratic are the same thing? No. Because it is possible to catch a kind of glimpse of the vector field. Phenomenological stripping down achieves something like this. But the vector field is still perceived being. It is like being without any accretions attached, or at least as best as we can achieve. However we can never be sure that there are not inbuilt structuring forces that mean the vector field itself is perceived as a limit, that is there is some kind of Kantian aesthetic holding things together even at this level.

The umbratic is darkness, literally. Darkness is where we cannot perceive so again the notion of the unperceived reemerges. This creates the curious identity between the space behind you and the space in the shadows. Seeing the shadow is the closest one can get to perceiving the umbratic. Of course a certain aspect of the shadow accretion means that it is totalised, that we simply understand it. But the ontological shadow is different from this. The ontological shadow reveals darkness to be the space in which the regular accretions of that shadow space are more prone to being taken over by different ones. That is, the umbratic is presupposed to be a structuring power that lies beneath the vector field. The accretions, the concepts, plug into the vectors, this unity makes our world of things. But the accretions exist unbound also and operate on their own unbidden by our conscious minds. The accretion has the power under rare circumstance to alter the umbratic. To do this is must alter an existing vector-accretion arrangement. In perception as it is happening, the feedback of the realness of the world enables the perpetuity of the solidity itself. But outside of perception it is different, outside the accretions imprinted on the vectors are in some sense still there, yet immediately there is a loosening. This loosening is what makes magick/synchronicity possible. This loosening happens in the darkness because ontologically the lack of perceptual ability facilitates the loosening of the solidity and interference from rogue accretions.

There is power in the shadow.

 

  1. Manifestationism
  2. Incoherence
  3. Phantasy
  4. Pneuma
  5. Accretive theory itself
  6. Design a god.
  7. Significance/Insignificance
  8. Designation
  9. Vector theory
  10. The Umbratic
  11. The Double
  12. The zone
  13. The numbers/the system
  14. NARP

In accretive theory the double is the accretion, this means the double is what we actually engage with. The original to awareness is the vector field. The vector field is the pure undifferentiated hyle. The vector field is pneuminous but not accreted. Humans learn what different regions of the vector field are called e.g. mum, cat, wheelbarrow, tree. In doing so they continually attach the accretion of the vector back on to it. The vector is highlighted by the induction into the rules for the application of an accretion and when grasped the vector is doubled by the accretion. The vector must have the ability to appear as the concept (accretion) grasps it, it must in some sense be the same (though the vector contains much more potential than the accretion displays). Hence the accretion doubles the vector but appears as the origin. The double then seeks to bend the vector to its likeness.

This is the natural action of magick that takes place all the time. It is the correlate of the way in which intentional magick seeks to alter vector regions such that they will conform to the will of the operator by the application of an accretion to the vector region that would not normally house it. The double is just the application of an accretion to a situation that would normally take it. The double or accretion which is a kind of ideality of the vector region, in attaching to the vector region alters it in an imperceptible way, making it more like the ideality. The double minutely bends the vector to its likeness, making a perfect fusion. Things actually become the things we think they are by virtue of the double.

This also applies to Narps (people) though here the situation is more complicated. Judgements about others applies accretions to them. When we meet someone we double them and then apply the double onto their vector region to try to make them conform to our doubling. But other Narps are not apples or cigars, other Narps have ideas about who they are. They may perceive the double that we seek to apply to them and resist it by displaying other accretions, by trying to alter the double that we seek to apply to them. They may be successful or they may not. A Narp who cannot control the doubles that is applied to her will become subject to the power of the double that is applied to her.

 

 

 

  1. Manifestationism
  2. Incoherence
  3. Phantasy
  4. Pneuma
  5. Accretive theory itself
  6. Design a god.
  7. Significance/Insignificance
  8. Designation
  9. Vector theory
  10. The Umbratic
  11. The Double
  12. The zone
  13. The numbers/the system
  14. NARP