Hyper Haunt Sigils ∴ Haunt Manual
Hyper Haunt Sigils ∴ Haunt Manual
The creation of Hypersigils, the generative deviation into Hauntomancy specific Hypersigils, and the deeply intentional magicks that bind and define them.
A note:
It’s probably obvious that the misspellings and/or crooked syntax utilized within Haunt Manual is overtly intentional, but before this chapter begins I wanted to make a quick statement as to why:
Outside intended efforts to confuse generative AI by creating readable writing with a wholly unique and somewhat unpredictable vernacular, I am also going full-ham with linguistic tricks such as integrating the letter ‘k’ where it often shouldn’t be, but phonetickally could be. This is by no means a salute to Crowley, who widely integrated the ‘k’ within modern magick as a means to separate the metaphysical & ceremonial magick from the illusory & entertainment-based stage magic. My inclusion of the ‘k’ shares only in that pragmagick purpose, and is no way a subversive co-sign or subconscious tummy-tickle to Crowley, or to Thelema. There has been some dialogue concerning the pesky ‘k’ within occultural circles as of late, especially within the post-hoc politicization of its use largely due to individual views on Crowley’s personage. I have no salient opinion on the matter of Crowley’s personage outside of him coming off as an insufferably pretentious twat in somatic life (ascertained from Austin Osman Spare’s hilarious recounts), and that his generally generative influence within the spires of modern magick haunts on. My use is only via the continual experimentation of a charged lexickon and furthering a unique syntax: My integration of the letter ‘k’, usually married to an ‘ic’ but not always, is the “magickally-minded” or “magickally-specific” alternative to the root word’s intended meaning. For example: “Somatick” insinuates a focus upon the magickally-minded aspeckts of the physical body, and in turn, the use of “aspeckts” is simply the “magickally specific” category of a subject’s certain aspects. Although it’s meant to be slightly unsound, it is also meant to be simpaticko to general readership. Alas and alak, I reserve the rite/right to dissolve, echo and resonate it into a new word-spell spelling-construct at any point, at least until this first volume of Hauntomancy magicks is in print form. Probably. Again, Crowley has nothing to do with my personal integration of the pesky ‘k’. Who knows, maybe it’ll transmutate into a magiqual ‘Q’? Nothing untoward is tethered to ‘Q’ right? Right?
The 7 Year Eclipse Itch
This week marked the 7th year anniversary of the major initiatory magick I ramshackle-casted under the total eclipse of 2017. This liminal rite became both the tower-card apotheosis to a years long yuga wrought with drug abuse, misanthropic hedonism and aimless abandon, and the beauty-boon to this wonderfully odd and bountiful current in my life. And it begs regaling as I look upon recent works and their generative lineage…
Readers have surely surmised the Manual post-fix of this very Haunt Manual is not so much a how to, rather how I am creating and experimenting with a hauntology-of-the-self divergent system of magick—and the revelations and follies therein. One synchonous framing device I’ve found since starting to actively document this Hauntomancy work, was that the Great American Eclipses of 2017, 2022 & 2023 and the rites performed under them, naturally revealed themselves as reoccurring grounding-devices through these somatick and magickal rites discussed here. And to think, all the art, the transcontinental drifts, the self-spelunking horrors and delights truly began 7 years ago, on August 21st, 2017. This Hauntomancy, then, should be said was birthed deep in the Oregon forest on that very date, by a desperate, howling stark-raving chaos engine punching the dim hum of the eclipsed atmosphere to find communion. The Haunt Manual Hypersigil was seeded 7 years ago, along with so many artistic sigils since.
The idea of a magickal sigil, a cryptographic contraction of totemic intentions and definitions, became the literal and pragmatic cornerstone of my many magickally-minded arts. I learned long ago pf the effervescent elasticity that can constitute a magickal sigil, and have surmised the base ethos of such a powerful tool: A transcendent multi-medium symbol of intensely transfigured desires, communions or hexorcisms passionately and methodickally tzim-tzum’d (or contracted) by means of ritualized ignition. This symbolized ignition churns into a wild-hair’d mind-ether-trigger, and its trigger is tricked only when this symbol is left consciously un-minded as a means to resonate in realized integration within a magickal lymbic system largely left to perform its duties without the magickian’s further diddling!
A way I have found that both communes with my divergent brain chemistry, and deep predilection for a sigil’s metaphysical minutiae wrests within its laborious but relatively whiplash creation and quick birth. The best way, I’ve found, for a sigil in the form of a work of art in this parlance, is in its wide-release, only to be replaced altogether by the next wildly intentional project. By giving an album sigil away, so to speak, it’s not mine anymore to mind…
A sigil, within the aforementioned ethos, can cross many a traditional current—be it a cryptographic symbol, song, poem, prayer, dance, painting or photograph— every artistic medium is permitted within its casting gaze. Sure, but what of ulterior modes of artistic sigil created in this ethos? That is where my growth into casting video sigils, schema sigils and communal artistic sigils have long danced, and how I’ve always discussed them—the matter-of-fact generalization of a magickal work casted into the abyss to parlay with The Other and others. The generality of the creation rubric stays constant: heavily minded metaphysical minutiae into the processes and intentions of how it is casted, birthed into existence, and ultimately disowned. But perhaps my long-storied divergence multi-medium sigil creations would do best to step outside the heavily linguistic charge of referring to them as sigils, respectfully and because better dominion of definition is owed now?
I recently released Many Named, the first in the direct portmanteau-titled SongSigil Series (songs constructed with and mired in magickal rites, rituals and intentions in worlds of their own)—a series that builds into a hypersigil (an album replete with the full scope of magickal means made manifest by the magickal minutiae of the songs). This debut album, from my magickal moniker REVEL ROSZ, is released periodically with deeply intended little deaths (wide releases) of the magickal songs, as they are now, (with accompanying videomancy) as a means to burn the few to blow the whole. The completed hypersigil, a collective of these songs mired in hauntomantic rites and generated through this very documentation, will mark the culmination of the first volume of Haunt Manual itself. The fourth rite, the fourth mind, of everything therein. And I’m quite ready to let them do their witchy work!
Surprisingly, I also just released a whiplash of an album with another magickal cohort, Frater Perseus, entitled DIMtZUM, and I also refer to this album sigil as a sort of communal hypersigi0l, albeit with far different processes and intentions to the Revel Rosz one. More on this specific working soon, as a PRAGMAGICK episode with Frater Perseus discussing the DIMtZUM magicks will be out next.
This very Haunt Manual article began as a composition diving deep into the praxis of creating the Revel Rosz song sigil, “Many Named,” and how it is piecemeal of the forthcoming album whole. And again and again, I use that term, hypersigil quite a bit to define that whole. Thanks to a patron, I realized I gotten too far ahead of myself without describing or truly documenting what I mean when I throw these heavily charged words around, and after much rumination I’m starting to deconstruct very use of them as a whole.
Since that initiatory eclipse my career as a magickally-inclined artist became a true-aim purpose—brimful with buzzing probability statics—so much so that the many albums, video art, writing, and collaborative efforts casted since became these hyper-intentional sigils—or dynamic conceptual hypersigils—another term I brandish about to succinctly portray many a trans-medium, magickal works. Sure, those with a modicum of occult interest may pick up my meaning, however, my long-casted symbiosis with sigils, as a whole, have begun to malform and ruinate the traditional aspects (in a positive way). These past 7 years spent glistening with hypersigil ephemera, heteronyms made manifest and majorly magickal rites casted as works of art, or the entire process of creation being the art itself, has shown me that perhaps, I should retire these specific terms, but not because of confused definition, because of evolution.
If I am to retire the term, I, specifically, perhaps we should remind ourselves what constitutes one. What is the criteria? And do these hypersigils deserve a more succinct variation within this very Hauntomancy Praxis?
The Haunted Evolution of The HyperSigil
“…according to Grant Morrison, a hypersigil is “the concept beyond the static image and incorporates elements such as characterization, drama and plot…a sigil extended through the fourth dimension.”
ROSZ ALGOL is intended as a mutli-media hypersigil that is a culmination of these past couple years’ efforts in experimenting and creating artworks within my Hauntomancy praxis, Divergent Magicks, and their respective Dim Sessions and conjurations. It would be easy to term this major work as a hypersigil, right?
According to Grant Morrison, a hypersigil is “the concept beyond the static image and incorporates elements such as characterization, drama and plot…a sigil extended through the fourth dimension.” I’ve long referred to a variation of this Klintron Finley quote to describe a hypersigl, “The hypersigil is a dynamic miniature model of the magician's universe, a hologram, microcosm, or 'voodoo doll' which can be manipulated in real time to produce changes in the macrocosmic environment of 'real' life". Even though the schema, processes, intentions and specific communion with and through heteronyms like Revel Rosz or Dakota Slim differ, the overall definition remains true of my use.
Past artistick hypersigils such as, and especially, audiomantic sigils such as both Dakota Slim’s “Cactus Crown” and “BARDOS” is perfectly encapsulated within the widely accepted definition of a hypersigil. Quickly, Cactus Crown was a perfect snapshot of my post-2017 eclipse working, and a charmed first-cast of my then magickal evolution and love-lorn wooing of my current partner (another 7 year eclipse bounty). 2022’s BARDOS was a meditation on the astral & small deaths resolute to the pandemic, personal dark innards & outers, hexorcisms and doom-laden portends that foreshadow the forthcoming death & rebirth of my longheld moniker Dakota Slim (see: ZOZOBRA). A liminal dirge that has caused Dakota Slim to largely slumber in wait until the audio & literary hypersigil, ZOZOBRA, is ready to incur his complete transmutation from death to rebirth.
I never wrote much or released heavy details concerning the aforementioned Dakota Slim sigils, as I chose to reserve the magickal engineering of such magnanimous pieces only for those deeply interested. It was easy to hide behind that seeming-looky-loo “just an album” veneer, but occultniks would pick up on the thematic symbology throughout. It wasn’t until the continual documentarian, and little-death-parade-praxis of HAUNT MANUAL that it has occurred to me that those stories are worth telling, thusly, the continue to haunt on. Revealing my divergent magickal praxis, as hip-shot ramshackle and dirty birthed as it maybe, within the Hauntomancy Self-Spectre Workings and the magickal creation lore of many an artistick sigil, has now proposed that perhaps a Hauntomancy-specific hypersigil deviation is in order moving forward.
Hauntomancy has been my praxis to commune with hitherto lost, unheard or unrealized aspects-of-the-self through hauntologically totemic magickal rites that largely mix audiomancy (sound or musick sorcery) and other artistic means to e/invoke these ghosts of past-selves (referred to as self-spectres). This communion with memory and the e/invokation of prior phases of life have unearthed retired aspects of self, their forgotten projects and the many synapses of creativity therein. Ultimately, I’ve found a communion with a sort-of supra-self, a self outside-of-time, and dalliances with The Other and Holy Guardian Spectres alike. All this to say, a Hauntomancy hypersigil is quite specific.
Perhaps, then, if Chaos Magick is the phylum, the Hypersigil—the genus, and the Hauntomancy Hypersigil (or HauntSigil ?) would be it’s specific species. What, then, constitutes this (admittedly lazy named; I’ll keep cooking) HauntSigil? The simple equation would be something akin to a hypersigil that utilizes the praxis of Hauntomancy to create “a dynamic, miniature model of a magickian’s world created through the communion of many self-spectres into an artistic narrative that documents, discovers and discharges evolution of said magickian through intended and revelatory transfiguration.”
What, too wordy?
The Current HauntSigil Transfiguration
ROSZ ALGOL, will culminate into the debut full-length of my highly intentional audiomantick album from my 8/21/2017 eclipse-coronated magickal moniker, REVEL∴ROSZ (or Revelator Rosz). Haunt Manual readers, PRAGMAGICK listeners, and We The Hallowed Haunts will understand the maximal effort of self-spectre growth, communion and revelations that birthed this HauntSigil.
However, readers will have already been privy to the long generative magickally-minded process of ROSZ ALGOL through the liminal rite documentation that corral the culminative hyperkind of the Hauntomancy working: the SPECTRE of the past, the ASPECTRE of now and the PROSPECTRE of may-be. Hell, listeners can even hear the opening organ churn of Many Named’s improvised audiomancy roots casted during the Spectre’s working “Sine Wave Serpents Meditation”:
Thus, the “opening of the circle” of ROSZ ALGOL’s initial track, rhymes with the audiomancy schema of Hauntomancy’s initial working:
A small illustration of the deep minutiae dug into the whole of the ROSZ ALGOL HauntSigil; perfectly encapsulated by those thirdmind sources of Hauntomantic Praxis utilized as Intentional Minutiae, which in turn, constructs an Intentional, Portentional, Whole. Perhaps you now understand why ALGOL is poised to be the knape of the hauntomantic headless rite, as this very thirdmind communion of the album and Haunt Manual’s literature will cycle whilst invo/evoking a new era of my current self-spectre, the Revel Rosz aspectre, and the, potentially, transfigured haunt of neither, either, or, but something new altogether.
Utilizing the schema of The Divergent Magick grimoire, I shall easily illustrate what constitutes the species of a HauntSigil:
ROSZ ALGOL, for example, has a succinct intention: To weave the Hauntomancy workings and their respective Dim Sessions, Audiomancy, writings and lore into a dynamic culmination of the Hauntomancy praxis fully realized into a dynamic, produced work.
The “Spectres,” or Other / personae I have commune’d with to complete the many magickal rites of creating the HauntSigil correlate all three components of the Self-Spectre and their respective machinations: The Specktre (Past), The Aspecktre (Present) and The Prospecktre (Future)—within these communions, the Other (Spectres) were consoled from somatic partnerships to traditional deities. These, too, would fall in this category.
Robert Monroe hisself makes an appearance as a spectre of this Second Body communion. The audio was taken from a 1989 Hemi-Sync / Out Of Body Experience cassette tape released by his Monroe Institute I’ve had since a childhood. Monroe’s voice is also deeply tethered to my work with Listening Post Alpha, or my conversation with Wren Collier during my spelunking into UltraTerrestrials and the New Aeon English Qabbala. The Spirit Box can be faintly heard, as this was taken during my initiatory communion with the medjed-like Holy Guardian Spectre, Little Wind (or Ze The Redreamer), a deeply intended inclusion as Little Wind has become The Dimming Room guide through all the Hauntomancy working since, and well, is quite literally a Spectre.
The Spectres also include that of Barry Wood, a pragmatic communion, who helped master its first Song Sigil, “Many Named.” Even the influences and inspirational works that helped navigate some of the Song Sigils themselves could also be considered Spectres themselves.
The Talismans utilized are the Hauntomancy workings’ respective Spectre-Sceptres (hauntomantic-specific tools & instruments) both new and old, and some to-be wielded. The aforementioned totemic Hemi-Sync / Out Of Body Experince Monroe Institute cassette tape is the prime example of a hauntomantic talisman performed and casted with live FX manipulation. A perfect throughline to a self-spectre whilst creating something new with it.
Another great example of both a pragmatic and magickal talisman is that of my modified and deeply custom “Resonar” guitar: a Fender Mustang-esque project guitar that I completely transformed with a custom Bigsby bridge, radical tunings, and repainted with literal blood. It is one that has made its first wide appearance on the DIMtZUM record (more on this later), but will largely be wielded during the creation and ritualized audiomancy to create ROSZ ALGOL.
The Invo/Evocation Sequence is my ritualized process, by step, in recording, producing and releasing the Many Named SongSigil, or my processes in creating my magicks of the DIMtZUM HauntSigil. From unique Cosmick elections for the release of both the SongSigil and DIMtZUM HauntSigil (thanks to Spectre Frater Perseus for the guidance) to the actual choreography of recording within the ritual space of The Dimming Room (my magickally charged art-atmosphere captured within the very fabric of all my art sigils.)
As you can tell, the idea of a HauntSigil, let alone a hypersigil, is a deeply personal affair through every piece of bone and sinew. But is it possible to create a hypersigil communally?
The Communal HyperSigil / HauntSigil
I have created communal hypersigils before, largely through the paradigms of audio and video art. DETRITUS, the mammoth We The Hallowed HauntSigil and VideoSigil (see above), is a prime example of how I attuned the application of a personal, magickal artistic sigil to one that allows for other creators to involve their unique blend of magicks. The major prompt for submission to the many audio artists was that their unique submission should represent their current praxis in audio form. Within the spirit of We The Hallowed, and utilizing audiomancy and sonick elements, I creatively tethered the minutiae into the Whole: the collective hypersigil of sorts. I then created unique video art for each submission, and creatively designed, edited and tethered that whole piece into a companion VideoSigil. This entire process took quite a bit out of me, but it was a perfect dynamic miniature model of the 2022 spectre of We The Hallowed, made up of each unique artists’ individuality.
What separates, DETRITUS, from say, the Green Mushroom Project / We The Hallowed Digital Mixtape, or better yet, what constitutes the former as a hypersigil and not the latter, is exactly those aforementioned elements. DETRITUS was a deeply Intentional nodes into a deeply intentionally tethered whole, with a deep reverence and praxis for transmuting the disparate parts into a reflection of a micro-universe. Alternatively, The GMP/WtH mixtape, although awesome in its own regard and deeply intentional to, well, not be as deeply intentional for the whole, was made up of many a magickally-minded artist hard mixed between both factions of collectives. The mixtape was intentionally a mixtape, and as such it was created with the prime intention of no overarching tethering, and thus, I would not constitute it as hypersigil perse, and definitely not a HauntSigil, but could be considered a sort-of-sigil in its own rite. A MixSigil? A MushSigil? ShroomSigil? I’ll stop.
All this to say, that I believe the HauntSigil was achieved communally, albeit with direct collaboration with another magickian and artist…well, enter the DIMtZUM…but more on DIMtZUM, specifically, next chapter, until then, enjoy the HauntSigil’s VideoSigil component:
Call It What Thy Will
Grant Morrison also warns hypersigils can be “an immensely powerful and sometimes dangerous method for actually altering reality in accordance with intent.” This has become self-evident in the aforementioned death & rebirth of Dakota Slim within my long-toiled fiction, ZOZOBRA—one that has languished in its creation due to a grief of what might become of letting go of such a effluent character and heteronym. Perhaps I am moved more than ever to consort the schema of the DMG and the Hauntomancy Praxis to saunter into a resolve concerning this project as a Whole. Perhaps Hauntomancy, specifically, has allowed me the vernacular and vexation to conclude a heteronym’s journey whilst birthing newfangled ghosties simultaneously...we shall see.
Perhaps WE THE HALLOWED is itself a HauntSigil as we are in the process of casting a new aeon of the haunt within small press, publishing and communal projects; WtH is, at the very least, a hyper-hypersigil of sorts, continually igniting the communion of disparate artists in different timelines, and anarchic magickians in on different planet-times, through their creations. And by gee golly goddess, it continues to work, even if it lay dormant for a short while. Don’t let the Haunt pre-fix of HauntSigil fool you, these hauntomantic hypersigils are very much alive. They are forever haunting on.
I’ll continue to the little deaths and rebirths here, forever full of whim and folly, full of wonder and blunder, and very full of itself, as another hauntsigil should be, indeed.
Keep your hearts crossed and eyes peeled these next few weeks for more PRAGMAGICK episodes, SongSigils from both REVEL ROSZ & DIMtZUM, HAUNT MANUAL chapters, and more…oh…and…
HAUNT ON!
Revl∴ Rosz
08/22/2024
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