9.5 - The Operation

Instead of looking at how God has manifested an idea into physical form, let's look at how Man creates something into physical form. Creation starts with an idea.²⁸ With Man, it is usually a perception/desire relationship -- an idea; and wanting to bring that idea to form; to do that idea. It always starts somewhere in the mind first. The idea might not be clear, but something is there. In some cases, the individual may not even know what he or she wants to do. Both unclear perception and strong desire are co-joined in this last example.²⁹

Comparing how the architect creates to how a magus creates will bring the magical operation (spell) concept down to the more concrete. As stated, there is an idea and a desire to do the idea. Then, the architect recognizes that there is a matrix of laws that determine physical form. Moreover, there is recognition that they are going to have to work through these matrix(s) or weave(s) - represented by logic system(s) -- to make this idea real.

Lets take the four rules governing learning, and the use of magic introduced in the beginning of the chapter. They will be synthesized with the procedure the architect has to go through. We will periodically look at Figure 9.2 also, to help demonstrate the work of the magus.

To Know
This not only means to study what others have done before (which is difficult because 'those who know don't talk'); it also means the operator has already established the discipline for aligning themselves to the Source. As stated earlier, the first part of to know usually involves some thought/logic system (a mental construct containing Truth) to help them do so.³⁰

The first architectural logic system is mathematics. The idea has to be translated into mathematical concepts.³¹

In the old days, it was thought everything had a true name -- know the name and you would have control of that thing. Today this rationale has evolved to be an extension of Pythagorean thinking: everything can be expressed as numbers (digital thinking). Manipulating the physical form to numbers creates something that works (providing you are using the right numbers). Both are examples of magical thinking -- to control form through symbols and the logic behind the symbols.

Both the magus and the architect are using magical thinking. One is using symbols to key truths in the mind, and the truths will take care of the form. The other is assembling material according to the symbols: dimensions, hardness, spatial arrangements, curing time, finances, manpower, etc.

The architect must recognize the laws of physics applicable to physical forms, and the physical form itself. Examples are the basic physical materials to be used: What is concrete? What is it made out of? What is wood? What is iron? How does iron work different than concrete? How is it that, when you put the two of them together, they help each other? Etc... In both cases, if the symbols are correctly applied, the form must follow.

Because the architect is dealing in several realities at once, his act of creation can be a relatively involved process. He has to align the idea in his mind to a number of other thought systems/matrices. He not only has to work with Absolute and actual realities; he also has to work with consensual, individual, and perhaps some imaginary realities.

For the magus, the idea is the same and it still involves a lot of work, but the process is simpler. The magical operator need only apply Absolute Reality, and actual reality will automatically follow.

The perception/desire that is wanted (in the particular operation) is then translated into some logic matrix of its own, and visualized. The architect draws plans of what he wants to do. He tries to solidify the idea down, so to speak. With artists, and some artwork, this idea starts with plans and sketches or rehearsals. Then, there is other artwork, where the plan is extemporaneous. The artist is going to do something, but doesn't have any plan about it yet. They're going to do it as they go along. But, that's a plan.

For the magus, this may involve some constructed visualization (either actual as a picture or a visual construct within their mind). This also may mean developing some ritual.

It is important to remember from the postulates and theorems, plus, as in Figure 9.2, that the higher always determines the lower. God determines the Love, Love determines the Logic, Logic determines the Truth Matrix, and the Truth Matrix determines the Creation. Just as the idea within your mind determines what the final form is going to be, the higher always determines the lower.

If the architect changes any aspect of their visualization of their matrix (plan), the form changes. A contractor is reading the plans; the plan reads 10" instead of 10'. That one apostrophe mark change in the plan matrix makes a major change in the physical form. The higher always determines the lower, and as the higher changes, the form changes.

All of which, of course, is in line with the thought system/logic matrix they are using. The architect is aligning their perceptual lens to using physics and math, while the magus is aligning their perceptual lens using a metaphysical thought system (both are priming their perceptual lens/matrix with, as well as learning to manipulate truths).

This plan idea also includes sequencing of the work. The architect has to arrange to plug into a consensual reality³² to bring the idea into physical form. Much of the plan's construction is with that in mind. To weave the idea (individual reality) into Absolute and actual reality (physics and materials) and then into a consensual reality (culture), which will build the house.

The second part of to know means the operator has learned some form of internal coordination and has harmonized the discipline with the thought system/matrix. For effectiveness purposes, the operator's thought matrix/construct must be as encompassing as possible. The more Absolute Truth in the matrix, the better. Their matrix will then help the operator become tangent to the all-encompassing Love that comes from God.

From the telepathic/psychic³³ reference, nourishing Truth in the human matrix fosters the necessary love bond between a human matrix and the Matrix for the operation to be possible.

To know also means for the magus: Why are you doing this? What are the operator's desires? What is your motivation for working with 'The Lathe of Heaven'?³⁴

One imagination exercise I have not given is to recognize an individual perception/desire, and then imagine you already have that perception/desire. Then you ask yourself, "Now what?" Just because a person can do something does not necessarily mean he or she should do it.

As stated earlier, motivation determines what category of magic the operator will be doing. In addition, it determines the nature of the operation's karmic reflection back on the operator, the reaction to the action.

Furthermore, remember the Formula of Effectiveness, and how motivations factor into the formula.³⁵ Motivations can affect the effectiveness of the operation and the 'paybacks' -- this makes it a very high priority for the magical operator to know their motivations.

To summarize, to know means to study -- the universe as well as yourself -- and, to prepare your mind/matrix.

To Dare
The second rule is to dare. The operator dares to do it. It means to conquer fear over the operation. Part of this dare is to know that what the operator is about to do is very different from what he or she has done before.

Another part of the dare is to know that whatever is done that is not aimed at union with God is going to draw Karma. The mirror will reflect the operator's thinking and actions back on them. As mentioned before, because the operator of magic is manipulating form on a causal level, Karma can be accelerated and the effects can be quite painful.

Fear and its related perceptions are just as much an obstacle to the architect as it is to a magus, though on different levels. Fear is divisive. It divides and separates. There can be a number of reasons the architect may be afraid of bringing his/her idea to fruition. What if it doesn't work? Will I look like a fool? What am I going to eat? (If the project fails)... etc. The end result is the same. The fractured perception that fear generates hinders the architect from following through on his idea.

With the magus, the reasons and the thinking may be different, but the results are the same. The fearful perceptions that keep a magus from working may be: What if my motivations are not pure? What will be the repercussions to my act (including individual karmic consequences)? I am dealing with 'The Great Unknown' here.

For both, fear is a perceptual distraction that keeps them from focusing totally on their perceptual lens/matrix manifesting idea. Therefore, they both must dare to do what they want to do.

To Will
To will means to do it. When manipulating form, the magical operator is adjusting the circles of Figure 9.2 (elements of their human matrix) within him/herself. In some ways -- it can be said - the operator is manipulating the mirrored image, of Figures 3.3, 3.7, 4.4, and 9.2 within themselves to affect the mirrored image outside.³⁶

In reference to Figure 9.2, a magus creates a weave or pattern of tangency within their matrix to bring the power of the precious Eternal Moment of Creation into effect. The closer to one point tangency within the individual, the closer God's Creation comes into physical form. This is called a 'coordinated being' in magic. Depending on the skill and on the points of tangency, the results can vary from a simple manipulation of daily changes to the awesome.

In another way, it can be said the magus's mind/matrix is in a telepathic communion or repoire with the Mind/Matrix.

In terms of the architect, the idea within the human matrix of the architect is woven into the greater matrix of a whole system(s) or reality(s). It can also be said a lesser matrix/system has interfaced into a greater matrix/system -- whether it is winter, and if the contractor can build in winter, or whether the contractor has to wait until summer. Still, the construction starts along the greater matrix/system lines, dealing with the nature of the matter and material itself. The greater matrix is what makes the idea work/manifest.

The architect then puts energy into the assembly of systems (materials, knowledge, availability, labor, knowledge, etc.) That includes energy/money accumulated along greater matrix lines.

I say energy/money because money is a symbolic form of condensed energy within our physical world. Then the energy and/or money are matched with the idea -- the desire/perception -- and through the will of the architect, the house becomes actualized and manifested into form through this effort. Through the systems: money, labor, material, and skills -- all used by the architect -- the house is built.

As said before, this involves putting the energy (focused life energy with the condensed energy of money) behind the house idea to assemble systems and sub-systems that work with the previously recognized greater mathematics/physics matrix (Absolute and actual realities). This also includes what cultural matrix(s) he may be occupying at the time (consensual, individual and perhaps a few imaginary realities). He literally projects his vision -- the plans -- into greater matrices. Once this done, as long as focus is maintained, the greater matrices/systems build the house physically; makes it real (actual reality).

That is how man creates on a mundane level. The procedure is relatively similar (though simpler) on the thaumaturgical level. When working on thaumaturgical levels, the only systems the magus is working with are his matrix and the Truth Matrix. The magical operator applies the idea (individual reality) onto the greater thought Matrix (Absolute Reality). The operator arranges their temporal matrix to be aligned with the Truth Matrix.

The individual does this while maintaining a focus on the idea they wish to accomplish in their temporal matrix. For energy, they align the points of tangency in their perceptual lens/matrix to work with the Eternal Moment of Creation, as they perceive it (their thought system). Once this is done, the Absolute power of the Truth Matrix (with the Eternal Moment of Creation) collapses time/space and does all the work. Once the idea is in Absolute Reality, it automatically effects actual reality.

Instead of formulas and their mathematical relationships (symbols of physical truths) - as with the architect, the operator works with the archetypes (higher truths) within the established systems. Many established systems perceive the same truths differently. This is why there is such variation in philosophies on, and uses of, magic. The symbology the magus uses is not important; the Truth those symbols represent is important.

As stated earlier in the chapter, none of these variations make much difference. What gives the magical operator the power to work is God, the Truth Matrix, and the Eternal Moment of Creation within them. The thought system the operator uses is not important just as long as they use it to create the points of tangency within themselves. A magus may use chants, prayer, music, etc. to maintain focus, to bring internal points into tangency.

It is the points of tangency within the operator that funnel the power of the Eternal Creative Moment/Matrix through to produce the work into physical form. In other words, how much (and what) Truth is in their temporal matrix determines how well the operator can connect to the Truth Matrix. As with the architect, if the operator makes the proper connections/alignment, the Matrix does the work.

So how does the operator do this? First, stilling the mind/matrix and eliminating as much untruth as possible. Next, is weaving thought forms -- this is the pumping of truth through their matrix.³⁷ They may surround themselves with archetypal symbols to help remind them of these truths. This is done until their matrix is ringing on at least the third level, preferably the fourth level, or ideally the fifth level.³⁸

They then insert and maintain a thought construct of what they wish to accomplish. This may be an image, a concept, words, etc. All of this is done with one-point focus -- a magus cannot let the mind drift. Focus is maintained until there is a sense of completion.

As stated earlier, a magus may use chants, music, an item (like fire), prayer, etc. to help maintain the one-point focus.

A word about ritual: ritual is usually used by beginners and novices. Beginners may surround themselves with religious symbols and things they feel are in keeping with what they want to achieve. For white magic this may involve inscribed characters or things that have symbolic meaning: crosses and sacrament, Kabbalistic writings, incense, knives, chalices, candles, etc. These are things that have a temporal frame of reference which the operator perceives is in keeping with an Eternal frame of reference and the outcome.

For black magic, this also can mean some really nasty stuff: candles made from human fat, a cat that has fed on human flesh, skull of a patricide, skull of a goat that has had sexual intercourse with a human, etc. Items not normally kept on your coffee table.

The ritual magic operator then takes these symbols and performs a predetermined symbolic operation with them: pray and take sacrament; work with the knife, the chalice, or the wand; sing a symbolic song or chant; etc. What is the magus really doing? The symbols are reminders of universal archetypes/truths that the operator places into their mind -- concepts within the greater Matrix. In addition, the operator extends an image of the operator's desire into this Matrix.

The connections that make the operation work are all done in the mind of the operator. The things around the magus are just there to help the operator make that internal connection. They are only there to remind the operator. In the end, the only powers these things have are what they key in the mind of the magus. With proficiency and practice, the magus does not need externals. An advanced initiate has learned how to make the connections inside themselves without the paraphernalia.

You don't have to get in the mood.

Right. All the connections are made inside the operator's mind instead of through the physical forms surrounding the operator. That is why ritual magic is the magic of those who are learning; by people who have not gotten it down yet. In the end, the deeper into magic a student evolves, the more he or she must learn to let go of all ritual ceremony.

This applies to most thaumaturgical magic: white, black, gray, and silver. Gold magic has no pre-established rituals. If there are any rituals at all, they are spontaneous and of the moment.³⁹

There is one minor exception to this paraphernalia thing: the pentacle, the pyramid, or any geometric figure that uses the golden section and pi. These figures are equivalent to neutral amplifiers. (Remember the golden section is the mathematical proportion in which life physically comes out of itself and pi is the proportion by which life physically contains itself).⁴⁰ Because these figures are based on mathematics that are an effect of the life force, the physical presence of these mathematical proportions can resonate with the life force to some extent (although these figures are inanimate and neutral).

These geometric figures are quite useful in the beginning while learning and they must be used with great care as the operator grows in magical skill. As with an operation without the figures, if the operator is not clear on his or her motivations, or has an attachment to the outcome, the paybacks may be surprising and regrettable. Everything can become accelerated and the effect on the operator can vary from a physical influence on their body to a psychotic episode. These figures are not to be used lightly.

To conclude, let me share something I learned as a child (grade school). At one time I was experimenting and playing with body movement. I would look at my arm and do all kinds of mental activity (visualizations) trying to move my arm. Sometimes this would go on for ten-fifteen minutes. No matter what mentation or imagery I would use, if I did not apply my neural matrix the arm would not move.

The magical operation is very similar to this. No matter what imagery or mentation is used, unless the greater Matrix is applied, the operation will not work. When it is applied, the magic student finds out that the actual operation is as easy as moving an arm or batting an eyelid.

The predominant work involved in magic revolves around establishing coordination. Just as it took you almost the first seven years of your life to coordinate and program your neural matrix (to learn physical coordination), it takes a learning magus some time to coordinate and program their human matrix.

One final word here: since the magical operation involves a degree of knowledge of a matrix and its application -- that means there is a degree of faith involved.

To Keep Silent
Nobody likes a big-mouth. Egoists are focused more on themselves than the work. About the only reason to talk about an accomplishment (other than for teaching purposes [extending love]), is pride. For the architect, this may only involve a lack of social graces. For the magus, it is much more serious.

There is a list of reasons why to keep silent. One is be aware that talking fosters an attachment to what you are doing, and this can work against the effectiveness of the operation.⁴¹

As stated in the beginning of this chapter, this rule explains why there is not that much factual information about magic. Silence was also a concept of the Pythagorean schools.⁴² Since Pythagoras spent some time with Zoroaster, the two schools having the same idea in common is not that surprising.

The introduction of this chapter also explains why there is so much misinformation about magic, because of this rule. For the most part, the people putting the information out do not know what they are talking about. They are speaking from ignorance.

Another reason the operator does not talk about what he or she is doing inside him/herself is because, in the end, when we are dealing with magic and some of the higher metaphysical concepts, words become inadequate. The words are an attempt to share an idea between two temporal frames of references or individual realities (BTRs). For this to work, the people in communication must agree on the meaning of the words used. In addition, they must have certain ideas in common already for the words to have meaning.

It is very difficult to talk to a child about trigonometry if the child is just learning to count. The words and their usage are based on certain ideas that are not yet in the young mind. The words just do not work.

Another reason for silence comes from a quote from Jesus, "Don't let the left hand know what the right hand is doing".⁴³ This is very sound advice to an aspiring magus. If the right hand is the Truth Matrix and the left hand is their temporal matrix, the temporal matrix cannot grasp everything that the Truth Matrix is doing.⁴⁴

What information the personal matrix does get is liable to be fractured or incomplete, because the temporal matrix cannot perceive the whole picture.⁴⁵ Any conclusions or judgments the temporal matrix makes will tend to be wrong because it does not have complete information. For the magus, this means not only does he or she not talk about an operation after it is done, they do not think about the operation also!

Once the magus has operated, the magus must let go of the work (remember the effectiveness formula and the role of non-attachment). The operator must have faith (apply knowledge) and let the Truth Matrix do its stuff. To not let go means the operator is still putting mental/emotional focus on the work with lack of faith (poorly applied). They are still attached.

This not only affects the outcome, but it may also bring the operation back on them. When the operator talks about an operation, that act brings their mental/emotional focus, with their life energy, back into the operation.

There is a saying: "The sign of a good artist is to know when the painting is done." For the magus to talk about an operation is equivalent to an artist going back and touching up a picture that has been sold, framed, and is hanging on somebody's wall.

The fourth rule in magic can be stated another way: "Don't even think about what you did and walk away." There are more reasons the magus must not talk. I will cover them in the next section with the creative and destructive forces.