New Magic Era

The Ancient Magicians were reaching for the impossible to make it manifest. If we take that as the fundamental context of what magic is all about, and bring it up to modern times, then we are given the opportunity and the challenge to do the same. To begin the study of magic with attempting to conceive of the impossible, and then make it so. Then we would be on the inner road to magic. Impossible. What does it mean? In order to conceive of what would be impossible, there is only one place you can go. Your imagination.

If you brought one of the ancients forward into the pre-sent and took him to a WalMart, he would ask, "how did you manifest these objects?" If you took him to a manufacturer and showed him the whole technological process he would not call it technology, he would call it magic. He would say, well, you have found a way to an astonishing degree to mani-fest objects. He would see it as magic.

Magic is an infinite concept, which means essentially that the universe operates through and by magic It may not appear that way but in fact it does. Magic (imagination) creates universes. An attempt to define exactly what magic is as a set of rules or principles, or as a networked system, is go-ing to fail. Systems are the things that we use to examine the products of our own imaginations.

The more you are able to do magic because magic flows from the uniqueness of you the more magic you will be able to do. That's what it is all about. And so, in the New Magic Age as energy and the anticipation of this age begins to bleed into the atmosphere of our planet, it is an invitation for each individual to set foot on that infinite road of magic.

Excerpt

One of the factors embedded in the energy field around the planet is "the rise and fall of civilizations." This is a program in energy format, in automatic thought, if you will. Civilizations rise and then they fall. They are destroyed, and then they are rebuilt again, and they come to a peak, then they are destroyed. This piece of programming is, has been, implicit in the hu-man race. People expect it. They learn to live with it. They feel it is inevitable. But with the advent of quan-tum physics, the French Impressionists, Tesla, Buck-minster Fuller and a whole host of other developments this all began to change. People began to say to them-selves, you know, I don't see any reason for this rise and fall pattern. It seems absurd. It seems to be based on a misconception about energy: that you can only bring energy to a certain peak before it dissipates. That does not seem right, because the more I look at this idea of abundance, the more it seems to me that it is endless energy. That is what we are dealing with. A sea of energy that has no limit. So, something is wrong with this concept of the rise and fall of civilizations right from the beginning.

Now, another aspect I want to talk about is shapes of thought forms that float around us. These thought forms influence the way that people think. The frame-work in which the thinking takes place. Around this planet for a very long time, there have been floating many classical forms, thought forms. These do not need to have literal content. They are shapes, columns, pil-lars. Go back to ancient Greece and go to the Italian Renaissance and look at the pillars and the columns and the perspective, the vanishing point perspective that you see brought to its fulfillment in the Italian and Dutch Renaissance, and so on. The geometric solids of the cube, the rectangular solid, and so forth. All of what we consider to be classical forms, and classical space. These forms and these spaces have been floating around this planet in the energy, in the ether as thought forms for a very, very, very long time. People have a fundamental misunderstanding about what that means, because the forms in themselves seem to be so gorgeous, so beautiful, so perfect, almost like revela-tions. People are entranced by these forms. Indeed, they are mesmerized by these forms.

Now we begin to get down to something important. This is not a knock against classical sculpture or classi-cal painting or any of that. But it is about the persis-tence of these forms as being predominant shapers of the way that people conceive of reality and space and perspective, and even time, and the way in which peo-ple think. That may seem strange to you. There is a kind of predominance of fixed space, unchanging space, static space and stillness that is associated with these classical forms. So the thoughts of people tend to be more solid, less flowing, more rigid, more pat-terned, less adventurous over time, over hundreds ac-tually thousands of years of subconsciously viewing and connecting with these classical forms in the energy field around the planet. Over that period of time, the overall effect is a sort of mesmerizing obedience, a bowing down to these classical structures as being perfect and complete and final.

Final. Complete. Perfect. What do these words really mean?