• The Universe is energy; therefore, everything is connected in some way, and everything can be transformed.
• The nature of the Universe is unknown – but not necessarily unknowable.
• What exists outside the physical Universe is unknown – but not necessarily unknowable.
• Human knowledge and understanding of the Universe is comprised of ideas, concepts, beliefs, and contemplation of experienced phenomena.
• Some things are outside normal human awareness (are unknown or mysteries) – but are not necessarily unknowable.
• The way in which mental powers can be used to manipulate the physical world is unknown – but not necessarily unknowable. [Theories exist, e.g. manipulation of astral light]
• Knowledge or experience of normally unknown (occult) things can be gained, even if the knowledge or experience is outside of the current ability or skill to classify or explain (for example due to language constraints, such as no words existing to assign as label).
• Will is a psychic faculty that transforms intention into action.
• Imagination is the psychic faculty of experiencing visual and other sensory perceptions that are not currently physically present, and may not exist in physical reality.
• Symbols are a mechanism that transforms psychic energy.
• Fate (Karma) is the accumulation of past actions – it is not moralistic in nature.
• Skill is required to successfully Will. Skill is a combination of knowledge, and understanding, primarily gained through practical experience.
• Knowledge is the awareness of a concept or idea.
• Understanding is the knowledge of how a concept or idea functions.
• Wisdom is a combination of significant knowledge and significant understanding of the form, function, and reality of concepts or ideas.

La meditación es comúnmente asociada con las técnicas de relajación, o tal vez la repetición de un mantra cantado, como el “Om” canto. Si bien estos son sin duda los aspectos de la meditación, no son las únicas maneras de meditar.

La meditación puede incluir cantar, visualización, contemplación de los conceptos, respiración y varias otras técnicas.

La duración en que una meditación debe ser realizada variará de acuerdo a la habilidad del individuo y de la finalidad para la que está siendo utilizando. Alguno meditación ‘Masters’ indica que unos 15-20 minutos al día es todo lo que se requiere para experimentar una reconexión con la dimensión espiritual. Sin embargo, otros ‘Masters’ sugieren que la meditación de 3-4 horas por día es el objetivo, y para ello se puede reducir la cantidad de tiempo dedicado a dormir. Las historias hablan de Maestros de Yoga que meditan durante días y días.

Como ya promuevo aprender mediante la experiencia, lo dejo a usted la experimentación con la duración y el tipo de meditación.

Ejercicio 1 – Mantra Meditación I

Objetivo: aprender una forma común de la meditación mantra que ayuda a aquietar la mente.

Un mantra puede ser elegido por una serie de métodos. Idealmente debería ser algo que usted encuentra personalmente atractivo que está asociado con un proyecto de trabajo mágico, o seleccionado prácticas espirituales. Algunas formas de meditación que provienen de fuentes orientales usan los nombres de deidades hindúes. En general se sugiere que mantenga en secreto mantra personal. Más que “secreto”, merece la pena mantener ciertas palabras y asociaciones especial o sagrado para su uso personal. Hablando de los mantras actuales o palabras no es necesario, puesto que la técnica es la misma sin importar cual es la palabra. Por ejemplo, un maestro de meditación sugiere que cualquier palabra puede ser utilizada, incluso los nombres comunes, tales como John o Mike. Cualquier sonido en todos en realidad sirven para “entrenar la mente para converirse aguda.”

Esta forma de la meditación del mantra no utiliza la concentración o esfuerzo. No hay ninguna intención o expectativa detrás de esta forma de la meditación y el mantra no se repite rítmicamente.

Preparación

• Esta duración de este ejercicio debe ser de unos 20 minutos. Es posible que desee utilizar algún tipo de temporizador para que le avise de cuándo es el momento de terminar.
• Usted necesitará elegir un mantra que se encuentra personalmente atractivo. Algunas sugerencias incluyen: Om, YHWH (pronunciado Yod, Heh, Vah, jeh), Isa.
• Antes de comenzar, anote las expectativas y sentimientos que se han relacionado con este ejercicio.

Ejercicio

• Siéntese cómodamente. Acostarse es posible, pero debido a la relajación puede conciliar el sueño.
• Cierra los ojos.
• ‘Piense’ su mantra una sola vez (el equivalente de “decir” en su cabeza).
• “Esuche” (en su mente) el sonido del mantra.
• No trate de repetir el mantra, solo siga escuchando.
• No trate de controlar su respiración de ninguna manera.
• Si usted se da cuenta que los pensamientos vienen a usted, con cuidado déjelos ir, y vuelva “escuchar” al mantra.
• No se preocupe acerca de tratar de repetir o recordar el mantra, o “escuchar” éste de forma más clara.
• Continúe con ‘escuchar’ al mantra de cualquier manera en que éste llegue de usted.
• El mantra puede ser distorsionado de alguna manera, cambiar, ser más lento o más rápido, más suave o más fuerte, o puede permanecer sin cambios.
• No se resista a cualquiera de los pensamientos o cambios. No obligue a su mente regresar al mantra. Cualquier guía de regreso hacia el pasivo “escuchar” debe ser suave.
• Continúe este proceso durante 20 minutos.
• Cuando se acabe el tiempo, lentamente llame su atención de nuevo a la habitación.
• Observe su respiración y los sonidos externos en el ambiente que le rodea.
• Lleve su atención de regreso a su cuerpo.
• Tome algunas respiraciones profundas.
• Cuando esté listo abra los ojos.
• Cuando haya completado el ejercicio, escriba sobre la experiencia en su diario.

Ejercicio 2 – Mantra Meditación II

Objetivo: aprender otra forma común de la meditación mantra.

Preparación

• La duración de este ejercicio debe ser de unos 20 minutos. Es posible que desee utilizar algún tipo de temporizador para que le avise de cuándo es el momento de terminar.
• Usted tendrá que elegir un mantra. Que puede ser el misma que utilizó en el ejercicio 1 u otro de su elección.
• El mantra se lo puede repetir en voz alta (hablado), o internamente “pensado”.
• Antes de comenzar, anote las expectativas y sentimientos que usted haya relacionado con este ejercicio.

Ejercicio

• Siéntese cómodamente. Acuéstese si es posible, pero debido a la relajación podría quedarse dormido.
• Cierre los ojos.
• Comience diciendo el mantra.
• Repita el mantra rítmicamente.
• No trate de controlar su respiración de ninguna manera.
• Si usted se da cuenta que los pensamientos vienen a usted, con cuidado déjelos ir, y repita el mantra.
• Continúe este proceso durante 20 minutos.
• Cuando se acabe el tiempo, lentamente llame su atención de nuevo a la habitación.
• Observe su respiración y los sonidos externos en el ambiente que le rodea.
• Lleve su atención de vuelta a su cuerpo.
• Tome algunas respiraciones profundas.
• Cuando esté listo abra los ojos.
• Cuando haya completado el ejercicio, escriba acerca de la experiencia en su diario.

Ejercicio 3 – Observación de Pensamiento

Objetivo: aprender y experimentar la práctica de meditación conocida como “observación de pensamiento”. A través de la práctica este método debería permitirle calmar la charla interior de la mente (es decir, detener el diálogo interno).

Preparación

• Antes de comenzar, anote las expectativas y sentimientos que se han relacionado con este ejercicio.

Ejercicio

• Siéntese cómodamente.
• Cierra los ojos.
• Siéntese en silencio, y permitir que su mente divague.
• No intente forzar un pensamiento en particular, simplemente ver lo que flota en tu mente.
• Cuando un pensamiento viene a ti, lo repito intencionalmente, a continuación, con cuidado lo desestime.
• Continúe con este durante un período adecuado de tiempo.
• Cuando haya terminado, lleve su atención de nuevo a la sala.
• Observe su respiración y los sonidos externos en el ambiente que le rodea.
• Lleve su atención a su cuerpo.
• Tome algunas respiraciones profundas.
• Cuando esté listo abra los ojos.
• Cuando haya completado el ejercicio de escribir sobre la experiencia en su diario.

Ejercicio 4 – ‘Sonido’ Meditación

Objetivo: aprender una forma simple de meditación que es puramente no verbal.

Preparación

• Esta duración de este ejercicio debe ser de 15-20 minutos.
• Antes de comenzar, anote las expectativas y sentimientos que se han relacionado con este ejercicio.

Ejercicio

• Siéntese o acuéstese cómodamente en un lugar tranquilo donde no se verá afectado.
• Cierra los ojos y los oídos del bloque con los dedos.
• Ahora se concentran en el “sonido” (internamente) que “oír”.
• Simplemente sentarse en silencio y “escuchar” sin ningún intento de “escuchar” nada en particular.
• Si usted se da cuenta que los pensamientos vienen a usted, con cuidado de dejar ir, y volver a la “escucha”.
• Cuando se acabe el tiempo, lentamente llamar su atención de nuevo a la habitación.
• Observe su respiración y los sonidos externos en el ambiente que le rodea.
• Lleve su atención a su cuerpo.
• Tome algunas respiraciones profundas
• Cuando esté listo abra los ojos.
• Cuando haya completado el ejercicio de escribir sobre la experiencia en su diario.

Ejercicio 5 – Respiración meditación

Objetivo: aprender una técnica de respiración simple, útil para la meditación, la relajación y reducción del estrés.

La respiración es una de las dos funciones del cuerpo que puede ser fácilmente controlado por control consciente, así como el sistema autonómico. Esta técnica se puede utilizar con los ojos abiertos para ayudar a mantener la calma en situaciones estresantes del “mundo real”.

Preparado

• Esta duración de este ejercicio debe ser de 10-15 minutos.
• Antes de comenzar, anote las expectativas y sentimientos que se han relacionado con este ejercicio.

Ejercicio

• Siéntese cómodamente.
• Cierre los ojos (o bien mantener los ojos abiertos).
• Respire lenta y profundamente por la nariz, a una cuenta de 4 (aproximadamente 3-4 segundos).
• Deje que la respiración “caiga” en los pulmones mediante la ampliación de su estómago (utilizando el diafragma para respirar).
• Aguante la respiración momentáneamente.
• Exhale lentamente por la boca, a una cuenta de 4 (aproximadamente 3-4 segundos).
• Una vez más, utilice el diafragma, esta vez contrayendo los músculos del estómago.
• Espere un momento antes de respirar de nuevo.
• Continúe esta respiración de manera rítmica.
• Una vez que el ritmo está en su lugar debería ser posible continuar este sin contar conscientemente.
• Cuando se acabe el tiempo, lentamente llame su atención de nuevo a la habitación.
• Observe su respiración y los sonidos externos en el ambiente que le rodea.
• Lleve su atención a su cuerpo.
• Tome algunas respiraciones profundas
• Cuando esté listo abra los ojos.
• Cuando haya completado el ejercicio de escribir sobre la experiencia en su diario.

Ejercicio 6 – Ampliación de la Meditación

Objetivo: demostrar que usted entiende el concepto de la meditación y tienen la capacidad de adaptar los conocimientos a sus propias necesidades y requerimientos.

Preparación

• Este ejercicio se debe realizar una vez que esté familiarizado con los ejercicios básicos de esta lección. Se espera que se práctica una de las meditaciones por un período de 3-4 semanas antes de comenzar este ejercicio final.

Ejercicio

• Considere todos las anteriores ejercicios de meditación que han practicado, incluidos los que han investigado otras fuentes.
• Uso de las meditaciones anteriores, y sus experiencias con ellos, como base, formule un nuevo ejercicio.
• Escriba todas las expectativas y sentimientos que se han relacionado con el ejercicio que acaba de crear.
• Realice el ejercicio, después de cada uno de los pasos que usted escribió.
• Escriba acerca de la experiencia en su diario.
• Si no está satisfecho con el ejercicio, revíselo, vuelva a escribir las piezas que considere necesarias para cambiar y a continuación realice el ejercicio de nuevo. Repita esto hasta que haya logrado el resultado deseado.

Meditación Notas

Se recomienda que elija una forma de meditación y trabaje con este durante un período de 3-4 semanas. Mantenga notas detalladas sobre sus progresos y experiencias, con especial atención a los cambios que se producen durante las semanas que usted practica.

Debe quedar claro, por la pequeña variedad de ejercicios básicos que aquí se presentan, que hay muchas más variaciones y posibilidades para la meditación. Las meditaciones detalladas aquí son muy básicas y sirven como punto de partida para experimentar estados de meditación.

Le recomiendo que investigue por lo menos una forma de meditación y practique esto al menos una vez.

Read this article in English: Introduction to Meditation

Un mantra es simplemente una palabra, a menudo con un significado específico en relación a alguna forma de poder como una deidad. Maharishi Mahesh Yogi, afirma que “podemos tomar cualquier palabra.Incluso la palabra ‘Mike’ puede ser tomada … así nos encontramos con que cualquier sonido puede servir a nuestro propósito de entrenar la mente para converirse aguda.”

Él sigue diciendo: “Para nuestra práctica, seleccionamos sólo los mantras adecuados de los dioses personales.Estos mantras trae a nosotros la gracia de los dioses personales y nos hace más feliz en todos los ámbitos de la vida.”

Otras tradiciones uso de palabras tales como los nombres de las runas, las letras hebreas, los nombres de los dioses, los ángeles, o las palabras de poder y protección.

La técnica básica es la siguiente. Encontrar un lugar adecuado para sentarse y la práctica, asegurando que no se verá afectado por la duración de la meditación. Idelamente usted deberia meditar por 15-20 minutos a la vez.

• Piense en el mantra una vez, al comienzo de la meditación.
• Déjelo ir, no se concentre en el mantra.
• El mantra no se repite una y otra vez.
• El mantra es simplemente ‘escuchar’.
• Mantenga el mantra como una ligera idea solamente.
• Deje que el mantra cambie en la forma que quiere.
• Si su mente divaga, suavemente tráigala de vuelta para “escuchar” el mantra.

Read this article in English: Mantra Meditation

Some symbols are cross-cultural and appear throughout early history amongst many cultures. One such symbol is the sun symbol, often presented as a cross or circle.

Most people experience symbolism in their dreams. Dreams are rich in symbols and often their message is only understood when interpreted symbolically.

Meditation and trancework are areas where symbols are often encountered. Symbols can appear spontaneously, or be used to enter a meditative state. Astral projection and shamanic journeying are journeys that are rich in symbolism, as they are essentially forms of conscious dreaming.

The symbols (including people, animals, entities, gods and goddess, plants, and locations) encountered within trancework and meditation can be interacted with, and transmuted if desired.

It is important for you to understand the importance of symbols in trancework. In On Psychic Energy, Carl Jung described symbols as “the psychological mechanism that transforms energy,” describing the function that symbolism plays within out psyche. Roberto Assagioli, in his article Training the Will, elaborates on this: “Images, mental pictures and ideas tend to produce the physical conditions and external acts that correspond to them. Some psychologists have formulated this law in the following ways: a. Every image has in itself a motor element; and b. Every idea is an act in a latent state.”

When you use symbols in visualization, and learn to transmute them into new forms, you are actually working with very powerful magic.

Suggested Reading

Books

• Man and His Symbols by Carl Jung

Online Resources

• A Visual Glossary of Symbols
• The Secret Language of Symbols – A Guide to The Structure of Spiritual Emblems
• The Archive for Research in Archetypal Symbolism
• Symbols.com – Online Encyclopedia of Western Signs and Ideograms
• The One That Got Away
• Symbolism – What does it all mean? by X
• The Balancing and Synthesis of Opposites by Roberto Assagioli

The Higher Self provides a connection between our central core, or self, and the Universal Mind (God). The Higher Self has the important power of reconciling opposites, which is essential for magical work and personal evolution.

The Higher Self can also be considered to be a blueprint of you – the total person. You, as the ‘self’, are the microcosm, while the Higher Self is the macrocosm. The Higher Self has been described as the God within, and as it is transpersonal, it exists beyond the duality of the lower parts of our psyche. In its association with height and depth (Deep Self), through it we have ability to see the bigger picture of our life. There is also an association with flight, such as in shamanic journeying where a shaman shape-shifts into an eagle, or flies on a bird, and looks down on all the affairs that affect his life. Other symbolism includes ascending into the sky on a cloud or chariot, or climbing a mountain and viewing the scene from the top – a symbol that is common throughout various spiritual doctrines.

There are a number of qualities associated with the Higher Self and transpersonal experiences in general. These include stillness, peace, an ‘inner knowing’, an all-pervading aura of unconditional love, contentment, feelings of being outside of time, sudden bursts or flashes of insight or inspiration, and inclusiveness. Other qualities of a spiritual or transpersonal nature include: beauty, comprehension, creativity, goodness, joy, serenity, will, calm, confidence, energy, harmony, love, silence, wisdom, compassion, courage, enthusiasm, humour, patience, and simplicity.

It is important to work with your Higher Self when practicing symbol analysis or journey work (trancework), as this adds a higher dimension to your understanding. I encourage you to experience the Higher Self and learn to trust the wisdom from this part of yourself – the only part that truly lead you in the proper direction you need to go.

Suggested Reading

Books

• Edgar Cayce on Channeling Your Higher Self by Henry Read

Online Resources

• Dialog with the Higher Self by Stuart Miller
• Transpersonal Psychology: The Balance Between Mind and Magic by Israel Regardie

Aim: To develop basic meditation skills.

Meditation is commonly associated with relaxation techniques, or perhaps the repetition of a chanted mantra such as the “Om” chant. While these are certainly aspects of meditation they are not the only ways to meditate.

Meditation can include chanting, visualization, contemplation of concepts, breathing and various other techniques.

The duration a meditation should be performed will vary according to the skill of the individual and the purpose for which it is being used. Some meditation ‘Masters’ claim that about 15-20 minutes per day is all that is required to experience a reconnection with the spiritual dimension. However, other ‘Masters’ suggest that meditation of 3-4 hours per day is the objective, and to achieve this you can reduce the amount of time spent sleeping. Stories tell of Yogic Masters who meditate for days on end.

As I promote learning through experience, I leave it for you to experiment with duration and types of meditation.

Exercise 1 – Mantra Meditation I

Aim: To learn a common form of the mantra meditation which helps still the mind.

A mantra can be chosen by a number of methods. Ideally it should be something you find personally appealing that is associated with a project, magickal working, or your chosen spiritual practices. Some forms of meditation from Eastern sources use the names of Hindu deities. It is generally suggested that you keep any personal mantra secret. More so than “secret” it is worthwhile keeping certain words and associations special or sacred for your own personal use. Talking about the actual mantras or words is unnecessary as the technique is the same no matter what the word. For example, one master of meditation suggests that any word can be used, even common names such as John or Mike. Any sound at all can actually serve the purpose of “training the mind to become sharp.”

This form of the mantra meditation does not use concentration or effort. There is no intention or expectation behind this form of the meditation and the mantra is not repeated rhythmically.

Preparation

• This duration of this exercise should be about 20 minutes. You may like to use some form of timer to alert you to when it is time to finish.
• You will need to choose a mantra that you find personally appealing. Some suggestions include: Om, YHVH (pronounced Yod, Heh, Vah, Heh), Isa.
• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit comfortably. Lying down is possible, but due to relaxation you may fall asleep.
• Close your eyes.
• ‘Think’ your mantra only once (the equivalent of ‘saying’ it in your head).
• ‘Listen’ (in your mind) to the sound of the mantra.
• Do not try to repeat the mantra, just continue listening.
• Do not try and control your breathing in any way.
• If you become aware that thoughts are coming to you, gently let go of them, and return to ‘listening’ to the mantra.
• Do no worry about trying to repeat or remember the mantra, or ‘hear’ it more clearly.
• Continue to ‘listen’ to the mantra in whatever way it comes to you.
• The mantra may become distorted in some way, change, become slower or faster, softer or louder, or it may remain unchanged.
• Do not resist any of the thoughts or changes. Do not force your mind back to the mantra. Any guidance back to the passive “listening” should be gentle.
• Continue this process for 20 minutes.
• When the time is up, slowly bring your attention back to the room.
• Notice your breathing, and any external sounds in the environment around you.
• Bring your attention back to your body.
• Take a few deep breaths.
• When you are ready open your eyes.
• When you have completed the exercise write about the experience in your journal.

Exercise 2 – Mantra Meditation II

Aim: To learn another common form of the mantra meditation.

Preparation

• This duration of this exercise should be about 20 minutes. You may like to use some form of timer to alert you to when it is time to finish.
• You will need to choose a mantra. It can either be the one you used in Exercise 1 or another of your choosing.
• The mantra can be repeated aloud (spoken), or internally “thought”.
• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit comfortably. Lying down is possible, but due to relaxation you may fall asleep.
• Close your eyes.
• Begin saying your mantra.
• Repeat the mantra rhythmically.
• Do not try and control your breathing in any way.
• If you become aware that thoughts are coming to you, gently let go of them, and return to repeating the mantra.
• Continue this process for 20 minutes.
• When the time is up, slowly bring your attention back to the room.
• Notice your breathing, and any external sounds in the environment around you.
• Bring your attention back to your body.
• Take a few deep breaths.
• When you are ready open your eyes.
• When you have completed the exercise write about the experience in your journal.

Exercise 3 – Thought Watching

Aim: To learn and experience the meditative practice known as “thought watching”. Through practice this method should allow you to still the inner chatter of the mind (i.e. stop inner dialogue).

Preparation

• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit comfortably.
• Close your eyes.
• Sit quietly, and allow your mind to wander.
• Don’t try to force any particular thoughts, just see what floats into your mind.
• When a thought comes to you, repeat it intentionally, then gently dismiss it.
• Continue this for an appropriate period of time.
• When you have finished, bring your attention back to the room.
• Notice your breathing, and any external sounds in the environment around you.
• Bring your attention back to your body.
• Take a few deep breaths.
• When you are ready open your eyes.
• When you have completed the exercise write about the experience in your journal.

Exercise 4 – ‘Sound’ Meditation

Aim: To learn a simple form of meditation that is purely non-verbal.

Preparation

• This duration of this exercise should be about 15-20 minutes.
• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit or lie comfortably in a quiet place where you will not be disturbed.
• Close your eyes and block your ears using your fingers.
• Now concentrate on the ‘sound’ (internally) you ‘hear’.
• Just sit quietly and ‘listen’ without any attempt to ‘hear’ anything in particular.
• If you become aware that thoughts are coming to you, gently let go of them, and return to ‘listening’.
• When the time is up, slowly bring your attention back to the room.
• Notice your breathing, and any external sounds in the environment around you.
• Bring your attention back to your body.
• Take a few deep breaths
• When you are ready open your eyes.
• When you have completed the exercise write about the experience in your journal.

Exercise 5 – Breathing Meditation

Aim: To learn a simple breathing technique useful for meditation, relaxation, and stress reduction.

Breathing is one of two functions of the body that can easily be controlled by conscious control as well as the autonomic system. This technique can be used with the eyes open to help maintain calm during stressful ‘real world’ situations.

Preparation

• This duration of this exercise should be about 10-15 minutes.
• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit comfortably.
• Close your eyes (alternatively keep your eyes open).
• Breathe in deeply and slowly through your nose, to a count of 4 (approximately 3-4 seconds).
• Allow the breath to ‘fall’ in your lungs by expanding your stomach (using your diaphragm to breath).
• Hold your breath momentarily.
• Breathe out slowly through your mouth, to a count of 4 (approximately 3-4 seconds).
• Again, use your diaphragm, this time contracting your stomach muscles.
• Wait momentarily before breathing in again.
• Continue this breathing in rhythmic manner.
• Once a rhythm is in place it should be possible to this without consciously counting.
• When the time is up, slowly bring your attention back to the room.
• Notice your breathing, and any external sounds in the environment around you.
• Bring your attention back to your body.
• Take a few deep breaths
• When you are ready open your eyes.
• When you have completed the exercise write about the experience in your journal.

Exercise 6 – Extending Meditation

Aim: To show that you understand the concept of meditation and have the ability to adapt the skills to your own needs and requirements.

Preparation

• This exercise should be performed once you are familiar with the basic exercises in this lesson. It is expected that you will practice one the meditations for a period of 3-4 weeks before beginning this final exercise.

Exercise

• Consider all the previous meditation exercises you have practiced, including any that you have researched from other sources.
• Using the previous meditations, and your experiences with them, as a basis, formulate a new exercise.
• Write down any expectations and feelings you have related to the exercise you have just created.
• Perform the exercise, following each of the steps you wrote down.
• Write about the experience in your journal.
• If you are unhappy with the exercise, review it, rewrite the parts you feel are necessary to change, then perform the exercise again. Repeat this until you have achieved the desired result.

Meditation Notes

It is recommended that you choose one meditation form and work with it for a period of 3-4 weeks. Keep detailed notes on your progress and experiences, paying attention to changes that occur over the weeks that you practice.

It should be clear from the small variety of basic exercises presented here that there are many more variations and possibilities for meditation. The meditations detailed here are very basic and serve as a starting point for experiencing meditative states.

I recommend that you research at least one other form of meditation and practice it at least once.

Suggested Reading

Books

• Beginning Meditation by Dennis Wier

Online Resources

• Meditation: concepts, effects and uses in therapy by Alberto Perez-De-Albeniz and Jeremy Holmes
• Qabalistic Meditation – A two part meditation based on Kabbalistic sources
• The Occult Library – has various meditation exercises

Lea este artículo en español: Introducción a la meditación



While the term visualization is not the best name for this skill it is very common. The problem with the term visualization is that the skills do not rely solely on inner visual senses, but rather on all inner senses. While the term visualization is used throughout the exercises (below), it should be kept in mind that what we are referring to is essentially a type of active imagination (a term commonly associated with the work of Carl Jung).

Visualization may be either spontaneous or controlled. With spontaneous visualization there is no intention for what images or symbols may appear to be worked with. With controlled visualization there is some form of intention behind the imagery. This may be another person guiding, or it may be the usage of a symbol to initiate the visualization (such as path-working with Tarot cards or runes).

The exercises presented here are not intended to be performed once and then discarded. They can be performed regularly, for perhaps one or two weeks. They can be used by experienced individuals from time to time to practice the skills. Remember, all advanced visualization builds on basic skills.

Important: Read the entire lesson through slowly and carefully before proceeding with the exercises.

What you will need

• A pen and paper (preferably a journal) to note down your experiences from performing these exercises and any insights and understandings you develop during your studies on trancework.
• A quiet space where you will not be disturbed while practicing the exercises.

Exercise 1 – Visualizing Objects

Aim: To assist you in learning basic visualization skills.

Preparation

• You will need 5 small items and a piece of cloth to cover them. Items should be relatively simple, such as coins, buttons, paperclips, stones, etc.
• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit down, with the items you gathered placed under the cloth and within easy reach.
• Take out 1 object and examine it closely.
• Place the object back under the cloth.
• Close your eyes and spend some time recreating the object in your minds eye.
• Open your eyes and make some notes on what you experienced with this object.
• Repeat with each of the remaining objects.
• When you have completed the exercise write about the experience in your journal. Note any difficulties you may have experienced.

Exercise 2 – Visualizing an Object from Memory

Aim: To assist you in learning to visualize objects from memory.

Preparation

• Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit or lie comfortably.
• Close your eyes.
• Take a few deep breaths, exhaling slowly.
• Allow yourself to feel relaxed.
• Imagine a piece of fruit of your choosing.
• See clearly in your minds eye the colour, shape, and texture of the fruit.
• Open your eyes and make some notes on what you ‘saw’, noting any difficulties or peculiarities.

• Close you eyes again.
• Recall the fruit in your minds eye.
• Touch the fruit, noting its texture and what it ‘feels’ like.
• Open your eyes and make some notes on what you ‘felt’.

• Close you eyes again.
• Recall the fruit in your minds eye.
• Listen to the fruit, does it make a sound?
• Open your eyes and make some notes on what you ‘heard’.

• Close you eyes again.
• Recall the fruit in your minds eye.
• Smell the fruit, taking some time to identify any fragrances and what they bring to mind
• Open your eyes and make some notes on what you ‘smelt’.

• Close you eyes again.
• Recall the fruit in your minds eye.
• Taste the fruit. What does it taste like?
• Open your eyes and make some notes on what you ‘tasted’.
• When you have completed the exercise write about the experience in your journal. Note any difficulties you may have experienced.

Suggestion: Try this with other objects.

Exercise 3 – Visualizing Colors

Aim: To practice the visualization of colors.

Preparation

Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Sit or lie comfortably.
• Close your eyes.
• Take a few deep breaths, exhaling slowly.
• Bring to mind a rainbow, comprised of many colors.
• Choose 1 of the colors, and allow this color to fill your mind’s eye completely
• Pay attention for changes in the shade of color.
• Note any other internal senses that become activated while visualizing the color (sounds, smells, etc)
• When you have finished, open your eyes again and make some notes on your experience.
• When you have completed the exercise write about the experience in your journal. Note any difficulties you may have experienced.

Exercise 4 – Visualizing Familiar Symbols

Aim: To practice the visualization of simple symbols you are already familiar with.

Preparation

Before beginning, write down any expectations and feelings you have related to this exercise.

Exercise

• Choose either the alphabet or number symbols from your native language (i.e. Latin alphabet A through Z)
• Sit or lie comfortably.
• Close your eyes.
• Take a few deep breaths, exhaling slowly.
• Visualize the first symbol in the sequence. e.g. “A”
• See it clearly in your minds eye, large and bold.
• Now, allow it to change into the next symbol in the sequence. e.g. “B”
• Again, see it clearly in your minds eye, large and bold.
• Repeat this process for all remaining symbols in the sequence. e.g. “C” … “Z”
• When you have completed the exercise write about the experience in your journal. Note any difficulties you may have experienced.

Suggestion: Experiment with various other symbols such as the Runic, Hebrew, Greek and Enochian alphabets.

Exercise 5 – Extending Visualization

Aim: To show that you understand the concept of visualization and have the ability to adapt the skills to your own needs and requirements.

Exercise

• Consider all the previous visualization exercises you have practiced, including any that are from sources other than these lessons.
• Using the previous exercises, and your experiences with them, as a basis, formulate a new exercise.
• Write down the aim of the exercise, along with all the steps to be performed.
• Write down any expectations and feelings you have related to the exercise you have just created.
• Perform the exercise, following each of the steps you wrote down.
• Write about the experience in your journal.
• If you are unhappy with the exercise, review it, rewrite the parts you feel are necessary to change, then perform the exercise again. Repeat this until you have achieved the desired result.

Visualization Notes

The lessons are provided in a very simple form as it is the practice and experimentation that is important. The exercises really are as ‘simple’ as they seem.

Most of these simple exercises can be easily adapted for practice outside of the normal “quiet” environment. They can be practiced during breaks at work, while commuting on the bus or train, or at other times you find convenient to practice.

While I promote practice and experiential learning as the primary method of training, I also encouraged you to read various books and articles on trance and practice additional exercises from other authors, traditions and cultures to get a good working knowledge of the experience of trance.

Suggested Reading

Books

• Creative Visualization by Shakti Gawain
• The Way of Trance by Dennis Wier
• Monsters and Magical Sticks: Or, There’s No Such Thing As Hypnosis by Steven Heller and Terry Lee Steele
• Trance: A Natural History of Altered States by Brian Inglis
• The Kybalion by Three Initiates

Online Resources

• Trance Research Foundation
• The Occult Library
• Magick Wiki

As the quote from Paracelsus suggests, and many other esoteric philosophers agree, Will, Imagination, and beliefs are fundamental concepts to understand and master to achieve success in the magical arts.

The free magic lessons that I offer on Magical Path are based around a specific concept of education, the word deriving from the Latin word educere, meaning to “lead out”. In magical training, and the occult in general, I believe that education is about leading out that which is within each individual. It is not about forcing beliefs and rules on students. It is about providing them with tools and encouragement to discover for themselves. An analogy would be providing students with a rough map, a compass, and telling them to explore the landscape and discover whatever experiences, treasures, and dangers, lie in wait.

The following article summarises some of the concepts found in the first few magic lessons.

Beliefs

We all have beliefs. The beliefs we have shape, limit, and define how we behave and interact with all things, both in our waking life and within our inner worlds of thoughts, and dreams. Our beliefs are often unconscious, and without introspection we usually remain blissfully unaware of them, even while our actions are shaped and controlled by these beliefs. We may find ourselves arguing certain things, and struggling to understand why others don’t agree with us, and yet still remain unaware than it is simply a matter of beliefs. Yes, we may be right, and they may be wrong, but it is still a matter of beliefs; and these beliefs are seldom consciously chosen and formed.

It is possible to become aware of our beliefs. To consciously sift through our thoughts, analyze our interactions with others, and learn what it is that we believe about various things. This is extremely important with magic, as many people limit themselves by saying (and believing) things such as “I can’t visualize,” or “visualization is a difficult skill to learn.” These are simply beliefs, and it is possible to believe the converse of these, that “visualization is an easy skill to learn.” Of course, if you simply tell yourself that something you believe is not true, it will not instantly change it, because beliefs tend to be concrete and ingrained in us. It takes some conscious effort, and skill, to break down concrete beliefs and replace them with more useful and helpful beliefs.

It is important for you to realize that beliefs are not absolute truths. What works for you, based on your beliefs, may be a fact or truth for you, but it is not necessarily the same for me – or at least it may not have the same amount of importance in my life. For instance, you may believe that learning to levitate will provide you with the proof you need that psychic powers are real, whereas I may believe that levitation would be little more than a party trick and is not useful for developing useful psychic abilities.

Our beliefs are generally formed by our childhood experiences, both what we are taught by our parents and teachers, as well as the things we observe. As such, many of our beliefs are essentially childlike, and not necessarily helpful for coping with adult situations, let alone the rigors of esoteric training. Worse still, we tend to be unaware of the number of contradictory beliefs we hold and cause inner conflict, which often leads to conflict with other people in our lives. You have a belief that leads you to strive towards a particular goal, which seems elusive, as you remain unaware that another belief is blocking you because you also believe it is impossible for you to attain that goal.

Another aspect of beliefs is what we call belief structures. A belief structure is a group of similar beliefs, which are often variations on a particular theme, and the interconnections between these related beliefs. Even the paradoxical and conflicting beliefs are part of this structure, as they form a positive and a negative – or more correctly a weaker and a stronger – pair.

Our beliefs and belief structures form complexes within our personality, which are called subpersonalities, as they can be considered smaller parts of our personality. Subpersonalities are always found as pairs, based around a core concept (belief). One subpersonality is generally dominant and the other weaker, although both may become active within our personality and shape our behavior in different situations and circumstances. Although you may initially view one of the subpersonalities are negative, and the other as positive, it is important to understand that most have negative and positive aspects, and it is actually a balance of these traits that is important in your life.

While our beliefs tend to be concrete and fixed, it is possible to begin to develop a new belief that are our beliefs are able to be changed, and that beliefs that we hold and develop can actually be more flexible and fluid. The axiom states that “nothing is true, everything is permitted” is the expression of the type of belief that is actually beneficial to all spiritual training. It is not that you have to believe in nothing (“nothing is true”), but understand that there are many levels to reality and truth, and that your personal beliefs may work for you, but are not automatically universal truths. Believing that anything is possible (“everything is permitted”), on some level of reality helps develop flexible beliefs that all you to adapt and evolve as your experience and learn new things. This is particularly important when working with magic, as things you will experience may differ from your normal waking reality.

Will

Eliphas Lévi wrote that “Learn[ing] how to will … is the first arcanum of magical initiation…” The type of magic I promote can be considered “willed daydreaming” (alternative knowing as trancework or creative visualisation). Essentially, you are learning to enter a dream-like state of consciousness while maintaining conscious control over your thoughts and actions.

The nature and function of the Will is often misunderstood. The Will is not what is commonly termed “will power.” The definition of the Will that I work with is: “the psychic faculty that transforms thought into action.” Take a moment to reflect on this, and then perform the following brief exercise:

• Think about lifting your arm (but don’t actually lift it yet).
• Imagine what it feels like when you move your arm, and, in your mind’s eye, see where your arm will be once it has moved.
• Now, lift your arm.

What happened? Thinking about and imagining lifting your arm didn’t cause it to raise (unless you were already in a state of trance). It is the process of transforming the desired outcome into the physical action that is the Will.

There is plenty of information available to read regarding the Will, and it is beyond the scope of this course to cover it here. You are recommended to read and contemplate the various beliefs and teachings about the Will, and how your experiences with magic relate to these things.

Imagination

Albert Einstein wrote that “imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” This quote illustrates the importance of imagination. To imagine is not “just your imagination” in a fleeting, illusory way. Imagination is a type of reality, as are dreams, and fantasy. They may not be waking, consensus reality, but they are a type of reality, and the fact that we experience them makes them facts in, and of, themselves.

The visualizations presented in this course are all types of active imagination. You practice imagining the five main physical senses of sight, sound, smell, taste, and touch. You can also learn to stimulate physical feelings, sensations, and emotions through imagination.

The concept of magic I work with is that it is performed by combining Imagination with Will. Creativity is essential in any magical work, so you are encouraged to always find new ways to be increase you imaginative faculties – primarily through practicing trancework exercises such as visualisation and journeying. A valuable attribute when performing trancework is to set aside accepted practices, and spontaneously explore new and creative possibilities.

Journal Work

I highly recommend that you keep a written journal of your experiences with magical practices, to document your progress. Writing in your journal at the end of an exercise can help to ground the experience in the physical, and allow you time to be reflective and write about your thoughts, feelings, and any questions that may have arisen.

If you occasionally read through your journal entries you may find that you can begin to answer some of the questions. You may also begin to observe patterns in your thoughts and processes.

There are no particular rules for journal work. Being creative and using your imagination is useful in keeping with the aims of magical training.

Write poetry, draw pictures, diagrams, mind maps, fictional stories, or whatever else feels right for you do add. Additionally, focusing on feelings, as opposed to thoughts, is useful for future exploration of your psychological constitution.

I recommend that you keep a physical, written journal, as opposed to a computer based journal. The process of writing is recommended over the mechanical entry of data into a computer system. Your writing should be for your, not a ‘teacher’ or ‘master’, and should deepl express your opinions, beliefs, thoughts, feelings and emotions. This is not homework, and your ability or failure to keep a detailed journal should only be of personal relevance to you. Remember to write freely and expressively. This isn’t scientific or academic writing. Correct spelling and grammar, choice of language, or the correct way of keeping a journal are all irrelevant, and what is important is that you record your experiences and questions in a creative manner that is right for you.

One important note: I highly recommend that you begin writing down any dreams that you recall. Some of the exercises work with dreams, so beginning to take notice of your dreams is important for future exploration. You do not need to write down all dreams, and focusing on the dream that feels most important or relevant to you is recommended.

Deep Reading

Modern research has shown that slow, contemplative reading is very similar to meditation. Deep reading is often called slow reading or close reading. Occult works are particularly suitable for deep, thoughtful reading, and particular passages meditated on. This can help you to understand what the author is really talking about.

I recommend that you read slowly through all the exercises, at least twice, before putting them into practice. You can make notes in your journal, such as writing down your feelings prior to doing each exercise.

Likewise, I recommend that you read slowly and thoughtfully through all the lesson material and any recommended reading articles you chose to read. I recommend printing out articles, and reading from paper, over reading from the computer screen.

Suggested Reading

Books

• The Act of Will by Roberto Assagioli

Online Resources

• Transpersonal Psychology – The Balance Between Mind and Magic by Israel Regardie
• Will Project
• The Training of the Will by Roberto Assagioli
• Will from LearnMagic.com
• Will entry at Magic Wiki

Then comes the problem of magic or magick. Is the spelling magic to be reserved for illusions and tricks? And can magick, with the terminal –k, be free from the connotations of Crowley’s system of magic? Who dictates the meaning of words, and what authority do they have? And if we don’t accept a standard definition or spelling of the word, where are we at? Does magic = magick = majik? Is magic = כישוף = جادو = ไสยศาสตร์ = მაგია = 魔術 =जादू = 마법?

I suspect if you ask 100 people in 100 different cultures you will get many varied definitions and beliefs surrounding magic, which may or may not have common themes or elements. All the words used to denote ‘magic’ (whatever ‘magic’ may be) are symbols that represent a concept – or in this case individuals concepts. This highlights a problem inherent in many languages, that a symbol (a sound, a word, a character) often represents multiple concepts; concepts that individuals or groups have assigned to it. The symbol is no longer pure, that is, it is not longer clear exactly what concept the symbol actually symbolises.

There are people I know who I can talk to about magic. As soon as I use the word they know I am talking about illusions and tricks (the proverbial pulling of a rabbit from a hat). Other people I know immediately know that I refer to something vaguely and variously defined as paranormal or extrasensory. And most people I know would initially think I referred to magic tricks, and then become confused, and then decide I’m either weird or crazy or both.

So there are two components that are at the crux of this: the symbol and the concept. The symbol in itself is not important, only that we recognise it as representing a concept. If communication is to occur, then the symbol must be recognised by those receiving it, not only by those sending it (I am being simplistic here). The symbol must also be identified with the correct concept, or effectiveness of the communication is reduced.

A concept is seldom in isolation. Think of a lemon (or don’t think of a lemon). Lemon is a fruit, a type of citrus tree, and perhaps a colour or a flavour. With a concept such as magic, there are various interconnected concepts which come to mind (and this will vary, depending on what an individual understands and believes about magic). When communication is occurring, if the concepts that come to mind in the receiver are not the same (or close) to what the transmitter intends by the chosen symbols, then again, the effectiveness of the communication is reduced.

A magical language, of a sort, could be used solely by an individual magician to explore concepts, write notes, or communicate with other magicians who agree in essence with the concepts associated with the symbols used (although the main purpose would be a personal magic language for meditation and exploration). When the understanding of a concept starts to change, then the symbol representing it could be transformed in some way, evolved, to show that it is no longer the same as the original concept.

While I was reading through some quotes from the book, I noted that Hesse described the game as “a kind of universal language”:

“Under the shifting hegemony of now this, now that science or art, the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical and mathematical rules.”

As with any language, there are rules. The suggestion by Hesse is that the Glass Bead Game usually made use of musical and mathematical rules. This fits in well with various concepts of the occult, such as the music of the spheres and the various “mathematical” areas of sacred geometry and gematria. While the suggestion of mathematical rules may initially make the game sound overly intellectual, a deeper magical essence is also suggested by Hesse:

“After each symbol conjured up by the director of a Game, each player was required to perform silent, formal meditation on the content, origin, and meaning of this symbol, to call to mind intensively and organically its full purport. The members of the Order and of the Game associations brought the technique and practice of contemplation with them from their elite schools, where the art of contemplation and meditation was nurtured with the greatest care.”

This suggests a much more esoteric game, and suggests a language that is based on the use of symbols. Hesse elaborates on this, adding an even deeper level to the game, in which the “framework of a language” provided “a path from Becoming to Being”:

“Pious thinkers of earlier times had represented the life of creatures, say, as a mode of motion toward God, and had considered that the variety of the phenomenal world reached perfection and ultimate cognition only in the divine Unity. Similarly, the symbols and formulas of the Glass Bead Game combined structurally, musically, and philosophically within the framework of a universal language, were nourished by all the sciences and arts, and strove in play to achieve perfection, pure being, the fullness of reality. Thus, ‘realizing’ was a favorite expression among the players. They considered their Games a path from Becoming to Being, from potentiality to reality…”

Further links between the Glass Bead Game and a magical language are given by Hesse in various parts of the book:

“Some dreamed of a new alphabet, a new language of symbols through which they could formulate and exchange their new intellectual experiences.”

“Joculator Basiliensis applied himself to the problem. He invented for the Glass Bead Game the principles of a new language, a language of symbols and formulas, in which mathematics and music played an equal part, so that it became possible to combine astronomical and musical formulas, to reduce mathematics and music to a common denominator, as it were.”

“These rules, the sign language and grammar of the Game, constitute a kind of highly developed secret language drawing upon several sciences and arts, but especially mathematics and music (and/or musicology), and capable of expressing and establishing interrelationships between the content and conclusions of nearly all scholarly disciplines.”

Hesse compared the number of symbols in the Archive of the Game with the number of Chinese characters, demonstrating that the language kept growing (and likely evolving) over time:

“Each country’s Commission possesses its Archive of the Game, that is the register of all hitherto examined and accepted symbols and decipherments, whose number long ago by far exceeded the number of the ancient Chinese ideographs.”

I have had various thoughts regarding the Glass Bead Game, and magical language. These include the various connections with Qabalistic ideas of the connectedness between things, especially in the area of gematria. It would seem to fit with the Hesse’s loosely defined rules of the game that a using gematria to find connections would be one aspect of investigation. It seems natural (to me at least) for humans to look for connectedness between things, whether concepts or events.

The Internet certainly exhibits some of the aspects of a Glass Bead Game. Users can easily link between many related or seemingly unrelated concepts via hyperlinks. Of course, the deeply meditative aspects are not there, and standard text or graphics are generally the ‘anchors’ between which concepts are related, rather than carefully constructed symbols.

In the article, Triumph of the Cyborg Composer, a comment is made that “a common grammar and language underlie almost all music, from Asian to Western classical styles.” This fits in with the idea of the Glass Bead Game having rules deriving from music and mathematics.

I came across a suggestion that the concept of the Glass Bead Game may come from the Buddhist metaphor of Indra’s net (also known as Indra’s jewels or Indra’s pearls). Alan Watts eloquently describes the metaphor:

“Imagine a multidimensional spider’s web in the early morning covered with dew drops. And every dew drop contains the reflection of all the other dew drops. And, in each reflected dew drop, the reflections of all the other dew drops in that reflection. And so ad infinitum. That is the Buddhist conception of the universe in an image.”

Further information on an attempt to create esoteric Glass Bead Game, in the spirit of Hesse’s writing can be found at: GlassBeadGame.com

The important points in relation to a magical language are the meditation and contemplation on an initial symbol, followed by the discovery of interconnectedness and interrelatedness, and completed by the creation (synthesis) of a new symbol to represent this. This process communicates information (which is the purpose of a language) in a symbolic manner. It may not be important to create such an elaborate, all-encompassing version of the game described by Hesse. It may be very useful to create a basic, focused “game” that explores relatedness are a specific set of principles, such as axioms and principles associated with the occult and magic. The meditation on symbols, and the creation of new symbols could be an interesting magical process in itself.