Maurice Garin,La Tour Eiffel Embrase, Le Soir De Linauguration De LExposition, Le 6 Mai 1889, 1889. Photograph.

Maurice Garin, La Tour Eiffel embrasée, le soir de l’inauguration de l’Exposition, le 6 mai 1889, 1889. Photograph. Courtesy of the Library of Congress, Washington D.C

The Earth Pentacle, one of the elemental “weapons” or tools of an Adept in the Golden Dawn system of magic.

About the perimeter are the Hebrew names Adonai ha-Aretz (“Lord of Earth”), Auriel (the name of an archangel, meaning “Light of God”), Phorlakh (the name of the angel of elemental earth), Kerub (an order of angels), Phrat (one of four mythical rivers of Eden), Tzaphon (“North”) and Aretz (“Earth”).

The sigils following each name are derived from that name using the Rose Cross method of sigilisation. The remaining space is for the magical motto of the Adept.

The combination of all these symbols attracts the Spirit or Essence of Earth to this Sigil/Seal/Pentacle.

The center shows the Holy Hexagram, the Union of the upward Triangle of Male/Fire/Sun/Sulphur and the downward Triangle of Female/Water/Moon/Mercury.

The coloured background shows the Four Elemental Colours of the Sphere of Malkuth (מלכות), the Kingdom of the Material World of Assiah, and also known as the Bride.

The Names of God associated with Malkuth are Adonai Melekh (”Lord King”) and Adonai ha-Arets (”Lord of the Earth”). The Archangel of this sphere is Sandalphon. The Ishim (Souls of Fire) is the Angelic order associated with Malkuth.

The Qliphah of Malkuth is represented by the daemonic order Nehemoth, ruled by the Archdemon Naamah. Symbols associated with this sphere are a Bride (a young woman on a throne with a veil over her face c.f. “Veil of Isis”) and a double cubed altar.

Where Binah is known as the Superior Mother, Malkuth is referred to as the Inferior Mother. It is also referred to as the Bride of Microprosopos, where the Macroprosopos is Kether.

Here “Microprosopus” (”Small Face”) refers to the combination of the Sephirah of Chesed, Gevurah, Tiphereth, Netzach, Hod and Yesod.

(Text excerpted and summarised from various Wikipedia articles).

In the Information War

New Codes must be Devised

Knowledge is Power

Anterior 1989

Aeternum: The Journal of Contemporary Gothic Studies, Volume 7, Issue 1, edited by Ashleigh Prosser, Gwyneth Peaty, and Lorna Piatti-Farnell, June 2020. Info and free download: aeternumjournal.com.

Aeternum: The Journal of Contemporary Gothic Studies is an open-access biannual on-line journal. It offers peer-reviewed academic articles. The purpose of the Journal is to provide an emphasis on contemporary Gothic scholarship, bringing together innovative perspectives from different areas of study.

Contents: Editorial – Ashleigh Prosser     Articles The Joy of a Gothic Fable: Form, didacticism and ‘happy- ness’ in Sonya Hartnett’s The Ghost’s Child and Jennifer Kent’s The Babadook – Allison Craven     Book Reviews The Vampire Chronicles. Anne Rice. (1976-2018) – Antonio Sanna Tales of the Troubled Dead: Ghost Stories in Cultural History. Catherine Belsey. (2019) – Astrid Crosland Videogames and Horror: From Amnesia to Zombies, Run! Dawn Stobbart. (2019) – Gwyneth Peaty

The Mirror of the Landscape

I thought I would offer this article on landscape magic from the first issue of FOLKWITCH as a public offering this Solstice. May the sun burn bright and the bonfires burn brighter on the hills of your ancestors.

“The Mirror of the Landscape” Eldred Wormwood

The realm of the witch is defined by their interactions with that natural world in which they exist. From the dawn of mankind’s attempts to harness the power of magic we have relied on the subtle web of our interactions with the world “beyond the veil.” That mirror of the landscape in which we read our fortunes and prophecy our circumstance.

Yet little direct attention has been paid to the role that the landscape plays in the practice of witchcraft in the annals of so called occult scholarship. Much has been said about the how of practical magic and ritual, but very rarely do we hear of the why or where.

The landscape, that terrain in which you exist every moment of the day. From the dew covered foggy mountain bottoms to the industrial park urban sprawl the landscape surrounds us. It is the plane of reality in which we live.

You bleed into the ground. Feed the soil with your sweat and tears. Drink from the well that fills from its water table, your body becomes one with the place you inhabit. The landscape and the body are part of the system, the inextricable network of interrelated particles that make up evolving life on earth.

Most humans, mundanes without the perception to see the world for what it is, simply go about the actions of living life in survival mode. Take what they need, give what they must, eat, sleep and eventually die. But the witch sees the world at a resolution differently than most, looks at those shadows that others ignore, sees the light through the trees as more than random, holds on to the language of pattern.

The witch reads the world like a book of secrets, the landscape a story of evolving ideas that we grasp and understand. The clouds like a language, the whisper of the wind through trees, the way that puddles of rain reflect the sky - a signal we come to understand.

Your nose knows the way it seems, a deep sensor of quantum mechanics it feels like a finger into the cloud of potentiality that is the future, guiding you through the fog of possibility until you reach your goal along the path. The nose knows, if only you could speak its subtle language.

Mankind has always existed in the landscape, even in our futile attempts to control it. We are primates, who lived among forests and grass plains so recently that rivers remember when there were no cities. We are part of the natural world, whether we realize it or not. The witch is merely aware of this fact, and that knowledge creates an open state of knowing.

The landscape itself is a sound system, filled with the reverberations of not merely the events that have unfolded in this river of time, but the echos of other rivers descending in a swirling madness of never and always, meting out punishment when needed to teach the seeker a lesson in humility.

The mass of forms on the surface of the earth create chambers that capture the sounds and energies created by living things. These echos are the ancestors, speaking across the illusion of time to teach us the way toward the future. The beat in the echo of space like a drum in a forest, like a stolen P A in a Detroit warehouse.

From the time before written words we had strove to gain a foothold in this primordial state. Abrahamic religions even cite our fall from this world of perception, though go on to ban anyone who would seek it out for themselves.

In the ancient Greek Magical Papyri it is documented our relationship with the spirits who inhabit this physical world around us. While they rarely have corporeal bodies these spirits wield incredible power over the forces of the natural world.

These ‘genius loci’ tend to a static place, inhabiting features in the landscape full of energy. Rivers & streams, mountain valleys, ancient forests, those places where the nexus of being affords them a comfortable habitat.

Yet even in the urban world that we have carved they have evolved to function. Certain forms of building, areas of great human traffic like crossroads, material places we have created for sometimes other reasons that the abode of these spirits have come over time to find ‘genius loci’ of their own. Instead of teeth of thorn and stone they bare teeth of glass and steel.

Not all seekers can walk a path of pure natural landscape. Many are stuck in the sprawl of urban decay, watching ruins of man’s 1970s bad design decisions be polished into glass and steel turds of prefabricated corporate enclaves. Startup incubator hellscapes that shine in the rain like a b set on the Blade Runner story board artwork.

The city is haunted by these corridors of steel, the shades that stalk the streets are those of the dead homeless, of working girls and deranged ex bankers tossed out of their office after breaking down in a fit of anti- capitalist rage and destroying the spreadsheets through which mankind must continually consume.

We work our magic at these crossroads of manmade forms, concrete covered in tar and piss, the smell of car exhaust thick like incense of copal, the steel and glass become an altar at which we sacrifice lives to the deities of consumption and avarice.

In the 1950s a group of modern thinkers created the philosophical genre of psychogeography. The Situationists, primarily under the influence of Guy Debord, outline this critical analysis of the landscape in a series of articles published in the “Internationale Situationniste”.

Debord would publish his seminal work “Theory of the Dérive” originally in Les Lèvres Nues #9 (November 1956). In this short piece he outlines a form of practical divinatory landscape magic (though he does not make reference to magic directly) he dubs “dérive” which translates roughly as “drifting”.

“The ecological analysis of the absolute or relative character of fissures in the urban network, of the role of microclimates, of distinct neighborhoods with no relation to administrative boundaries, and above all of the dominating action of centers of attraction, must be utilized and completed by psychogeographical methods. The objective passional terrain of the dérive must be defined in accordance both with its own logic and with its relations with social morphology.” - Guy Debord, “Theory of the Dérive”

While Debord was primarily preoccupied with the urban environment, these ideas being born out of creative theories of the urban dwelling surrealists and eventually the situationists, they hark back to various forms of wandering and coming to know one’s environment through intimate journey common in rural areas throughout history. The “riding” of Scotland, the “walkabout” of the Australian native tribes, many cultures have a prescribed method of coming to know oneself via the land. Yet rarely do these cultural ideas of landscape exploration delve into the nature of the landscape in any scientific way.

The witch walks as well among the ruins of capitalism as we do the forest floor. We smell the stench of mankind’s death lingering on the horizon, a literal forest fire shouting in hisses and belches “I can’t breathe.” But even the urban witch needs time out away from the designed landscapes of man’s continual betrayal.

Out of the city, into the remaining forests and plains, to the mountains and beaches bereft of human indignities. Here we recharge ourselves, listen at the lectern of that parliament of birds, meditate in that complex drone of bees in a flower covered field. The wind through various trees speaking to us in a tongue we have always known but have no name for, only the sounds that tell us things we have always wondered but were simply afraid to ask.

This is the sabbat, this return to nature. This is the revelry for which we must escape even the most dreary urban existence, this soil from which our blood is fed, these waters to cleanse our spirit in preparation for the journey we must take along the path.

The “land” is itself the surface of the Earth’s crust, an area created by the shifting of the tectonic plates. This thin skin of cooled material harbors and incredibly diverse ecosystem. Yet it is not just above the soil that life lives. Deep into the earth we find an enormous quantity of complex lifeforms existing at depths we have only recently come to understand.

That earth, a particle itself screaming through naked space. A vehicle we inhabit, a space station ringing out dub frequencies into the cosmos. The electromagnetic field of the sun, its orbiting particles/planets shifting over the empty space in the radiant aura of that star at the center of the solar system.

When we look up into space we see nothing more than particles. Screaming suns that ring out just like every atom in your body. Interrelated electromagnetic fields pulsing in waves like haunted sound-systems. Singing that tune your soul needs, urging you on to the sex beat of reproduction. The pounding drums of interstellar rain inhabiting your abode, shining out of your eyes and your mouth like the burning of a salamander born under a blackened sun.

The surface of the earth we inhabit is not merely the geographic variables we perceive, nor is it only the organic film that clings to the upper layers of the outer crust. The earth is inhabited by more beings than can be accounted for with mass and electrons. Beings of light and gravity, magnetism and electricity. They inhabit rivers, mountains, crossroads. They ring out the tune you seek, dance to the beat you need but if only you could see with your ears and hear with your eyes.

Throughout this region there is an electromagnetic field of complex forms, irradiated by material objects (including the earth itself) yet influenced by shifting patterns of energy in space beyond the biosphere. Like a tapestry made of energy this electromagnetic field contains forms of life long known to the witch, yet hardly understood by common society.

These entities exist in ways both dimensionally and frequency shifted from our own plane of existence. While we are able to bridge the gap between our realm and theirs, and these dimensions do share a common fabric, it is only through practice that we can become accustom to their existence.

Spirits; whose names and forms are as varied as the names mankind has given to shades of colour and light. These beings we refer to as ancestor, kith, and elemental are but part of an ecosystem we have little knowledge of, and what rare knowledge we have is occulted.

With various forms of offering, pacts and rituals we have come to learn how to coax them into allegiance. How to work with them and communicate. Though much of our ritual action is not for them, it is to prepare us as practitioners for the mental and emotional toil of interaction with beings whose existence is obscure. This is why our offerings must come from our possessions, must have meaning to us. Our mental desire projected into the value of an object enriches its value in our trade with those who inhabit the landscape.

As old as it is in the realm of practical magic that concept we have been referring to as “landscape magic” is long overdue for a more accurate descriptive terminology. We have relied for centuries on the designations of various religious authorities to give form to our understanding of these beings, even in the days of ancient Greece, where the witch’s perception was shaped by the everyday culture and beliefs of the ancient Greek.

The secularization of witchcraft, particularly in the practices of the folkwitch, leaves us a framework that can adopt to a practitioner’s own religious beliefs, or be parallel to them in the practicalities of magical practice.

Yet the terminology of “landscape magic” is limited through lack of direct dialog between the disparate practitioners. When we turn to those authors whose work have touched on landscape magic beyond the psychogeographers, (historians like George Ewart Evans, folklorists like Katharine Briggs) we see a pattern of understanding in the practice of common folk magic throughout the world of interaction with a class of spirits whose form and function are shaped equally by the physical manifestation of the geographic landscape in which they inhabit, and the socio cultural framework of the practitioner in their understanding of the shape of the universe.

When we have considered the language of magic and its history of cultural appropriation we have tried in many ways to find a terminology that best represents the broader ideas encapsulated in “landscape magic”, in particular relation to the folkwitch.

Jake Stratton Kent, in his landmark text “Geosophia”, outlines the history and origins of grimoiric magic through the concept of Goetia, a body of knowledge whose origins are derived primarily from the ancient Greek Magical Papyri. While he doesn’t dissect the name of his volume the term “geosophia” is a Greek compound derived of “geo” for earth and “sophia” for wisdom.

The relation of goetia, though distinct and historical, to landscape magic is apparent in that many of the concepts related to spirits we as magic practitioners have come to understand find their origins in the goetia.

I have proposed the term “geotia” (geo sha) to give a broader modern terminology to the idea of landscape magic. It takes the reverse of two vowels in goetia and alters its meaning to one more rooted in the land itself and less tied to a specific massive historic body of knowledge.

Geotia is the state of being within the land itself. The total perceptual elimination of the culturally perceived boundaries between oneself/ species and the natural world. The prerequisite state of the practice of folk witchcraft.

Thus the intersection of geotia and witchcraft is a shared understanding of the form that reality takes when stripped bare of our projected ideas of consensual (culturally acceptable) reality. When we embrace the seeking of that state of geotia we begin to see more widely the potential of energy that exists in the world around us. The folkwitch comes to work a specific patch of land, one that is tended to and looked after by the witch.

The landscape that you make your patch is populated by a wildlife beyond physical form. Not just in the echo of your ancestors, but beings who have lived as long as there have been homosapiens, often longer.

You bleed into the ground, it drinks of your essence and it knows you. You feel outward into the landscape. In some places on the earth it is calm, its hills and valleys having long settled with history. But in others it is marred with the darkness of bloodshed, disease and war. Haunted landscapes that linger still because we refuse to let them settle, they instill us with that dread of our species past.

The words of your ancestors echo down the dna line, reverberate in the sound chamber of the landscape. They teach you who you are and who you are meant to be. They guide you on your path, but like a willow-the- wisp there is no catching them, only a journey further and further into the endless forest of self discovery.

The witch is the link between the ostracized humanity of the late 21st century and the natural world. We are the walkers who can hear, perceiving the true structure of the world we inhabit, beyond the illusion society teaches is “real.” We have been to the other side of the hedge, and have ridden the night winds. We fear not death, and often flirt with its sweet caress. The witch is the guardian of the land, but what we guard it from is humanity.

Bibliography:

Guy Debord. Theory of the Dérive. Les Lèvres Nues #9. 1956.

Jake Stratton-Kent. Geosophia. Scarlet Imprint. 2013.

George Ewart Evans. The Pattern Under the Plow: Aspects of Folk-Life in East Anglia. Faber and Faber. 1966.

Katharine Briggs. Pale Hecate’s Team. Rutledge. 1962.

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This article originally appeared in FOLKWITCH vol 1, 2019.