Jul 27, 2017 - Alephbet Create sigil. Article from niume.com. Grant Morrison Pop Magician. Depending on which sigil magic technique you end up using, you may wish to visualize the sigil with your eyes closed. Therefore, simplicity will help greatly. Therefore, simplicity will help greatly. Grant Morrison, a Chaos Magician and comic creator, suggests taking out all of the vowels from the statement of intention as well.

(As an experiment, I designed and 'charged' this sigil to cast a spell upon YOU, the person reading this. No, I'm not going to tell you what it's for.)

One of the most popular (and the easiest) aspects of Chaos magic is sigil magic – designing and drawing magical shapes as a way of 'casting a spell.' Sigils have been around since the earliest days, and Chaos magic simply took the idea of a sigil and simplified it to its basic concept. The popularity of sigil magic stems from its simplicity: it is so basic that anyone can do it. You simply design a sigil to match your desire or intent, activate it, destroy it, and let it happen.

In Chaos magic, a sigil is essentially an aid to focusing. When I meditate, it is convenient for me to focus upon the image of a sigil, as a way to help me shift my consciousness and block out input from my environment. Focusing on a sigil is a way to make it easier to achieve gnosis. A sigil is designed as a way of symbolizing the intent of meditation. After all, there's a reason why we're engaging in meditation in the first place – are we just trying to calm our bodies down, or are we actually looking to achieve a 'magical' effect? It's easier and more precise to focus our minds on a single image – a sigil – than to try to envision a phrase or a sentence such as 'I will score with a chick tonight, huh-huh huh-huh.'

In his Disinfo presentation and his popular essay Pop Magic, Chaos magician and comic book author Grant Morrison describes sigils in this manner:

'In the Pop Magic! style, the sigil (sij-ill) is the first and one of the most effective weapons in the arsenal of any modern magician.
'The sigil technique was reconceptualized and modernized by Austin Osman Spare in the early 20th century and popularized by Chaos Magicians and Thee Temple Ov Psychick Youth in the 19 hundred and 80s.
'A sigil is a magically charged symbol like this one:
'The sigil takes a magical desire or intent – let's say 'IT IS MY DESIRE TO BE A GREAT ACTOR' (you can, of course, put any desire you want in there) and folds it down, creating a highly-charged symbol. The desire is then forgotten. Only the symbol remains and can then be charged to full potency when the magician chooses.
'First remove the vowels and the repeating letters to leave a string of consonants – TSMYDRBGC.
'Now start squashing the string down, throwing out or combining lines and playing with the letters until only an appropriately witchy-looking glyph is left. When you're satisfied it's done, you may wind up with something like this:
'To charge your sigil you must concentrate on its shape, and hold that form in your mind as you evacuate all other thoughts.
'Almost impossible, you might say, but the human body has various mechanisms for inducing brief 'no-mind' states. Fasting, spinning, intense exhaustion, fear, sex, the fight-or-flight response; all will do the trick. I have charged sigils while bungee jumping, lying dying in a hospital bed, experiencing a total solar eclipse and dancing to Techno. All of these methods proved to be highly effective but for the eager beginner nothing beats the WANK TECHNIQUE.'
(For more about the WANK TECHNIQUE, read Morrison's Pop Magic!.) There are many online dissertations on sigil magic, such as these: [1][2][3]

What I do is simply concentrate on the image of the sigil as I meditate, using the steps and tricks described earlier, until I feel I've achieved gnosis. At that point I can then forget the sigil and leave it buried in my subconscious. If you believe in magical 'energy,' this phase of the meditation would then be described as 'charging' the sigil with magical energy and activating it. Chaos magicians often say they are 'activating' a sigil or 'releasing it into the subconscious.' At this particular moment, we focus our belief that the sigil has been activated, and the 'spell' has been cast.

Chaos magicians also frequently destroy the sigil in order to assist with forgetting it, and to impart the sigil into the subconscious.

Because I consider such situations as walking serenely and cooking as meditation, I've concentrated on sigils while performing these acts. I've even burned sigils in my cast iron pans, because I like the dramatic effect and the irony (pun intended) of such a theatrical and flashy act.

Because the sigil only has meaning for you, then it will work best if you design in it a manner only you can understand. Above all, do not tell anyone else the exact meaning of your sigil until you are positive that the effect has worked…and maybe not even then. Some Chaos practitioners believe all sigils should be kept a secret until after they have been effected, but I personally feel that you can design a sigil with the intent of making it public, such as the one placed at the top of this page. Even then, though, the sigil should remain mysterious in order to maintain its power. Remember, one of the most powerful aspects of Chaos magic is the power of belief. If a person believes the sigil has an effect, then it is much more likely that it will – whether that includes you, or the subject or target of your 'spell.' Even in the 21st century, 'witchcraft' still causes hysteria and panic in much of Africa – not because it is effective, but because large numbers of people believe it is effective. (See also: Witch Hunters.) Until the vast majority of Africa no longer believes in witchcraft, incantations such as sigil magic will continue to have an effect…as it will on anyone who believes that it will be effective. That includes you, and me: if I believe this sigil will be effective, then I will look for proof (even subconsciously) that it was effective until I discover it. (Note the similarity between this and many ludicrous conspiracy theories, Creationism, and other areas that rely largely on faith and belief.)

Does it work? That's the mystery of magic: if the sigil has any effect at all, there's no way to actually point to a piece of evidence and say, 'THAT is the result of the sigil.' As with other forms of magical reading, you can only wait for the event to occur, and suddenly experience a moment of hindsight when you realize that, yes, this sequence of events coincides with what you had designed into your sigil.

As I've stated, I am not a believer in magical 'energies' or outside forces. I consider the sigil to be an aid in meditation, one that I can focus on in order to better attain the state of gnosis and achieve the magical effect I am aiming to place upon myself. Even Peter J. Carroll has written and stated that 'magic,' as practiced by Chaos magicians, is a subtle affecting of probability and possibility in order to turn the tables more in the magician's favor. The primary aspect of the sigil is to place the intent of the spell into one's subconscious – and as such, it may possibly have the placebo effect of causing the spell caster to work that much harder towards achieving the goal (or the intent) of the cast spell…and thus provide the tipping of balance with the result of actually achieving said goal or intent. And then…well, what do you know? The spell worked!

Magical Phrases

A mantric sigil can also be created as a corollary to a drawn sigil. This is essentially a word or words (mantra), formed by arranging the letters used in the creation of the sigil. This is typically a nonsense word with no actual meaning or language behind it, other than the intent of the sigil itself. As with a drawn sigil, this magical phrase only has meaning for you, so it does not have to be spoken in an actual language. But as with the creation of a magical alphabet, some truly ambitious Chaos magicians may take the effort of creating their own artificial magical language especially for spell casting. (Shades of Ursula K. LeGuin's A Wizard of Earthsea.) The phrase Mod Externa, as seen on the front page of this very Web site, Cast Iron Chaos, is a sigil I developed myself. As I was designing a sigil behind a certain meaning related especially to myself, I suddenly discovered that the letters in my intent could be condensed into those two words, 'mod externa' – and immediately upon forming these words, I had a sensation that this was right. It was correct. It was a moment of magic! I felt that this phrase, 'mod externa' (which is not Latin, despite the resemblance to Latin), was there for me, and so I took it and used it as the motto of my Web site. The meaning of this phrase applies to me alone; it was a spell I had cast especially for my own benefit.

This application of mantric sigils can also be applied to Fotamecus, the time elemental created by Chaos magicians and then released onto the Internet for others to invoke. I've invoked him myself, especially when taking part in long drives in my car.

Here's an example of one of the best successes I've had so far as a Chaos magician: the night of New Year's Eve, December 31, 2011. After casting a sigil for success that evening, I wrote the following in my blog the next day, New Year's Day: 'New Year's Day, 2012. This year has already kicked ass over 2011. Last night I had the most fun I've had in years on New Year's Eve, and magic was definitely involved: the exact kind of esoteric and impossible-to-pinpoint magic that I've seen since I embraced Chaos. For this weekend's festivities, I engaged in a summoning ritual and I successfully conjured a cybernetic rabbit spirit from the future, who manifested in many strange and unusual ways. The most unusual, and positive, aspect of this came when I designed and cast a sigil with the intent having an effect that very evening, a scant few hours after it was cast. Rather than phrasing it as a desire, I took a chance and made it a declaration: instead of 'My desire is…' I simply stated my intention 'Something Unexpected Will Happen Tonight' and sigilized it. I then burned the sigil in a cast iron pan to project it into the subconscious. I may be an anthropomorphic cat at heart, but last night the rabbit was my spirit guide: I followed the white rabbit, and even managed to engage in Kirlian photography that showed the aura of the rabbit. I followed the rabbit and let the magic happen, and the result was that last night turned out to be the best fucking New Year I've had in many a year. I made several interesting acquaintances and met one person who I do hope will be more than just an acquaintance. The night's magic began with cast iron and ended with cast iron – true cooking magic. This makes me happy. Some people work magic with candles and cauldrons and pentagrams drawn on the floor. Cooking is my magic. My rituals involve cast iron over a blazing hot stove, wielding metal implements of culinary creation. The results of my cooking magic are slowly manifesting, but I am indeed gaining experience and confidence. Not the least of which was the way I cooked wonderful bacon two separate times in the space of five hours. I will be a beginning cook for a long time to come – but I am now an experienced beginning cook. I am achieving gnosis through my cooking.'

YouTube:Simple Chaos Magick

YouTube:Sigil Magick & Brain Entrainment - Create Change Using Symbolic Representations of Intent

Proceed to Chaos Magic, Part III: Cooking Magic
Proceed to Chaos Magic, Part IV: Summoning Demons and Other Fun Entities
Return to Chaos Magic, Part I: A Cynical Look at Practicing Chaos Magic
Everyone does magic all the time in different ways. 'Life' plus 'significance' = magic.

Grant Morrison Sigil Magic

Grant Morrison (born 31 January1960) is a Scottish comics writer whose writing includes The Invisibles (1994–2000) and The Filth (2003).

On comics[edit]

  • I love to work in the comics medium -- I really do -- and I've realised that a total contempt for the intelligence of the audience is the key to success. You know that Doom Force thing I did recently for D.C.? -- the pisstake of X-Force, right? Well, eighty percent of the people who sent letters of comment in on the story actually took the thing seriously! They didn't see the joke! It's horrific. Tom Peyer phoned me up and read page after page of these insane letters. That was the turning point. That is the moment that I became a super-villain. (1992) [1]
  • I see no reason why children as young as six, seven, or even three shouldn't be allowed to produce corporate comic books to relentless monthly deadlines. And have to write several titles at once to make a decent living. That's what a proper childhood's all about isn't it? This is the 21st century after all and these unruly little bastards have been milking post-Victorian sentimentality for all it's worth for way too long. Time to get kids back where they belong - up chimneys, down mines, and tied to the printing presses! If you can pick up a brick to smash a car window, then you can build me a textile factory, son ... here's a whole half dollar for your day's labor. Now put down that Justin Timberlake bio-comic and get back on the production line! (2003) [2]
  • Let's face it; regular monthly superhero comic books have taken on the look and smell of old men's pants. It's hardly a surprise comics lost the teenage audience or that the adult audience is now bored and irritated by the endless recycling of images they've already seen and words they've already read. (2003) [3]
  • Truthfully, the job security in this business is uncertain, the hours are long, long and lonely, the audience is increasingly small, fickle and dissatisfied, like 3 of the 7 Dwarves. Respect is nonexistent, success fleeting; you'd be better off in a boy band, where at least you'd get laid before they made you obsolete. (2004) Popimage interview
  • Most of the people who do this kind of work, do it out of love, like the love you'd show to an ailing friend. (2004) Popimage interview
  • The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. (2004) Popimage interview
  • As for all this talk I keep hearing about how 'ordinary people' can't handle the weird layouts in comics - well, time for another micro-rant, but that's like your granddad saying he can't handle all the scary, fast-moving information on Top of the Pops and there's really only one answer. Fuck off, granddad. If you're too stupid to read a comic page, you shouldn't be trying to read comic books and probably don't. (2004) Popimage interview
  • (On Frank Miller's comic book 'Holy Terror, Batman!') Batman vs. Al Qaeda! It might as well be Bin Laden vs. King Kong! Or how about the sinister Al Qaeda mastermind up against a hungry Hannibal Lecter! For all the good it's likely to do. Cheering on a fictional character as he beats up fictionalized terrorists seems like a decadent indulgence when real terrorists are killing real people in the real world. I'd be so much more impressed if Frank Miller gave up all this graphic novel nonsense, joined the Army and, with a howl of undying hate, rushed headlong onto the front lines with the young soldiers who are actually risking life and limb 'vs' Al Qaeda. [4]
  • (On DC: One Million) I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators. [5]
  • People say kids can't understand the difference between fact and fiction, but that's bullshit. Kids understand that real crabs don't sing like the ones in The Little Mermaid. But you give an adult fiction, and the adult starts asking really fucking dumb questions like 'How does Superman fly? How do those eyebeams work? Who pumps the Batmobile’s tires? It's a fucking made-up story, you idiot! Nobody pumps the tires! Grant Morrison: Psychedelic Superhero, 2011

On The X-Men[edit]

  • The 'Planet X' story was partially intended as a comment on the exhausted, circular nature of the X-Men's ever-popular battle with Magneto and by extension, the equally cyclical nature of superhero franchise re-inventions. I ended the book exactly where I came on board, with Logan killing Magneto AGAIN, as he had done at the end of Scott Lobdell's run. Evil never dies in comic book universes. It just keeps coming back. Imagine Hitler back for the hundredth time to menace mankind. (2004) Popimage interview
  • What people often forget, of course, is that Magneto, unlike the lovely Sir Ian McKellen, is a mad old terrorist twat. No matter how he justifies his stupid, brutal behaviour, or how anyone else tries to justify it, in the end he's just an old bastard with daft, old ideas based on violence and coercion. I really wanted to make that clear (when writing New X-Men). (2004) Popimage interview

On magic[edit]

  • All the comics are sigils. 'Sigil' as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are 'special' people with special powers. It's not like that. Everyone does magic all the time in different ways. 'Life' plus 'significance' = magic.
  • Everything is literally entangled, it can all be communicated with and affected 'at a distance' because there is no distance, only a simulation of apparent separation which our limited consciousness feeds us second by second at 11 bits. The 'telepathy' which brings people together is no more or less supernatural or unlikely than the 'telepathy' which brings two of your fingers together when you think about it. Patience, participation and constant close observation of what's going on, on the inside and on the outside will soon make you a fine sorcerer, if that's what you want to be. (2004) Popimage interview
  • I got so enmeshed in (The Invisibles) that I was producing holographic voodoo effects and found that I could make stuff happen just by writing about it. At the conclusion of volume one, I put the King Mob character in a situation where he was being tortured and he gets told that his face is being eaten away by bacteria and within a few months my own face was being eaten away by infection. I still have the scar. It's a pretty cool scar too but at the time it was really distressing. Then I had the character dying and within a few months, there I was dying in the hospital of blood poisoning and staph aureus infection. As I lay dying, I wrote my character out of trouble and somehow survived. I used the text as medicine to get myself out of trouble. Writing became a way of keeping myself alive. As soon as I was out of hospital I made sure my character had a good time and got a laid a lot and within months I was having the time of my life. (2005) [6]

On life[edit]

  • 'Real life?' What's that? (2003) [7]
  • I'd say to myself or whoever I was with, 'It'll look good in the biography.' and then I'd go ahead and do whatever daft thing it was - like taking acid on the sacred mesa or doing the bungee-jump, getting the haircut, dancing with the stranger, talking to the crowd - whatever I was 'scared' of mostly, or fancied doing, or never dared before, I'd try it on the basis that it would make for a more interesting read one day. (2004) [8]
  • When Nietzsche said God is dead, he forgot to mention that Satan died in the same horrific accident. [9]
  • Otherwise, I know I’m often wasting my breath and electronic ink saying this, but the “real-world” is a pretty weird place where lots of inexplicable things happen all the time, and I like to catch the flavor of that too. It just seems more modern and authentic to me as a storyteller. The “real world” doesn’t come with the neat three-act structures and resolutions we love to impose on it, and if repeated doses of movie and TV-storytelling have convinced anyone that it does, it‘s time to get out and about a bit. The real world is filled with ghost stories, non sequiturs, inexplicable mysteries, dead ends and absurdities, and I think it’s cool to season our comfortable fictions with at least a little taste of what actual reality is like. [10]
  • Most human lives are forgotten after four generations. We build our splendid houses on the edge of the abyss then distract and dazzle ourselves with entertainers and sex while we slowly at first, then more rapidly, spin around the ever-thirsty plughole in the middle. My treasured possessions -- all the silly little mementoes and toys and special books I’ve carried with me for decades -- will wind up on flea market tables or rot on garbage heaps. Someone else will inhabit the rooms that were mine. Everything that was important to me will mean nothing to the countless generations that follow our own. In the grand sprawl of it all, I have no significance at all. I don’t believe a giant gaseous pensioner will reward or censure me when my body stops working and I don’t believe individual consciousness survives for long after brain death so I lack the consolations of religion. I wanted Annihilator to peek into that implacable moment where everything we are comes to an end so I had to follow the Black Brick Road all the way down and seriously consider the abject pointlessness of all human endeavours. I found these contemplations thrilling and I was drawn to research pure nihilism, which led me to Ray Brassier’s Nihil Unbound and back to Ligotti. I have a fundamentally optimistic and positive view of human existence and the future and I think it’s important to face intelligent, well-argued challenges to that view on a regular basis. While I agree with Ligotti that the universe is, on the face of it, a blind emergent process, driven by chance over billions of years of trial and error to ultimately produce creatures capable of little more than flamboyant expressions of the agonizing awareness of their own imminent deaths, I don’t share his slightly huffy disappointment at this state of affairs. If the universe is intrinsically meaningless, if the mindless re-arrangement of atomic debris into temporarily arising then dissipating forms has no point, I can only ask, why do I see meaning everywhere, why can I find a point in everything? Why do other human beings like me seem to see meaning in everything too? If the sun is only an apocalyptic series of hydrogen fusion reactions, why does it look like an angel and inspire poetry? Why does the flesh and fur-covered bone and jelly of my cat’s face melt my heart? Is all that surging, roaring incandescent meaning inside me, or is it out there? “Meaning” to me is equivalent to “Magic.” The more significance we bring to things, even to the smallest and least important things, the more special, the more “magical” they seem to become. For all that materialistic science and existential philosophy tells us we live in a chaotic, meaningless universe, the evidence of my senses and the accounts of other human beings seem to indicate that, in fact, the whole universe and everything in it explodes second-to-second with beauty, horror, grandeur and significance when and wherever it comes into contact with consciousness. Therefore, it’s completely down to us to revel in our ability to make meaning, or not. Ligotti, like many extreme Buddhist philosophers, starts from the position that life is an agonizing, heartbreaking grave-bound veil of tears. This seems to be a somewhat hyperbolic view of human life; as far as I can see most of us round here muddle through ignoring death until it comes in close and life’s mostly all right with just enough significant episodes of sheer joy and connection and just enough sh-tty episodes of pain or fear. The notion that the whole span of our lives is no more than some dreadful rehearsal for hell may resonate with the deeply sensitive among us but by and large life is pretty okay generally for most of us. And for some, especially in the developed countries, “okay” equals luxurious. To focus on the moments of pain and fear we all experience and then to pretend they represent the totality of our conscious experience seems to me a little effete and indulgent. Most people don’t get to be born at all, ever. To see in that radiant impossibility only pointlessness, to see our experience as malignantly useless, as Ligotti does, seems to me a bit camp. (2014) [11]

On writing[edit]

  • We're so familiar with written language that we sometimes forget how outlandish a concept it must have seemed to our ancestors. Writing allowed people to copy and transfer their thoughts and their tribal codes of conduct to others, even unto generations they themselves would not live to personally instruct, affect or control. The words themselves must have seemed alive and immortal and as 'holy' as ghosts. Written law was thus a way of mastering time and influencing the future, a weapon greater than fire and steel, I hope you'll agree. When read, the written word made the head buzz and ring and fill up with voices and commands from nowhere, as if God Himself had come thundering down through the symbols, off the page and into the room, fertilising and impregnating the mind with his Ghostly, unmistakable presence. (2005) [12]

On The Matrix[edit]

  • It's really simple. The truth of that one is that design staff on The Matrix were given Invisibles collections and told to make the movie look like my books. This is a reported fact. The Wachowskis are comic book creators and fans and were fans of my work, so it's hardly surprising. I was even contacted before the first Matrix movie was released and asked if I would contribute a story to the website. (...) I'm not angry about it anymore, although at one time I was, because they made millions from what was basically a Xerox of my work and to be honest, I would be happy with just one million so I didn't have to work thirteen hours of every fucking day, including weekends. (2005) [13]

On himself[edit]

  • I use media exposure as a means of playing with multiple personalities. Each interview is a different me and they're all untrustworthy (2000) [14]
  • My work ethic is rigorous, brutal, and uncompromising. I've had my pension plans in place for a long time and I never spend more than I have or forget to pay my tax bills. My repressed, inner Protestant is an absolute Godsend in that respect. I also have lots of highly-paid and well-regarded work outside the comics field now and with Jupiter in the second house on my horoscope, I shouldn't have to worry too much about my dotage. I love the future and it loves me. (2003) [15]
  • I must admit to being increasingly deranged by the kinds of bizarre myths which have grown like moss around my name in comics fan circles - I keep coming up against this idiot savant image; me reflected back at myself as a shambling, incoherent drug addict, wanking and drooling out meaningless gibberish which can only be understood by 'those lying bastards' who claim they can see 'Magic Eye' 3-d pictures and wee men reading the news on the TV. (2004) Popimage interview

External links[edit]

Grant Morrison Sigils
Wikipedia has an article about:
  • Ellis, Jonathan; Butcher, Christopher. 2004. 'Grant Morrison: Master & Commander', popimage.com.

Grant Morrison Sigils

Retrieved from 'https://en.wikiquote.org/w/index.php?title=Grant_Morrison&oldid=2723932'
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