The New Magick Offers A Constructed Kosmology In Which Space, Time, and Thought Are Depicted Harmoniously
As we have seen on The Integral Cauldron, the Integral Magic™ philosophy posits a cosmology of a sort never-before-seen: one which doesn’t just describe the world as a given (“That’s just the way it is!”), as pre-modern and modern worldviews tend to do, but as a “magical” world of Art-Science which is aligned (constructed) with Unique Will. Postmodernism isn’t really interested in constructing a magical world; for the most part it is content with destroying or trivializing the magical connections others make.
In the New Magick, the act of creating the new cosmology is part of the whole picture, and part of the magic itself, an act of consciousness developed at a refined level of ego-maturity which is capable of appreciating “world creation”. Integral Magic offers a worldview in which everything is connected to every other thing, all things are whole/parts (or “holons” as they were called by Arthur Koestler) and analogies may be freely made between one whole/part and another whole/part, and guidance and wisdom received freely. Spirituality pertains to invisible realms again, not just psychological phenomena. Acausal connections are normalized and synchronicity ceases to be aberrant.
What does Integral Magic look like? I have a very specific proposal to advance for your consideration in The Integral Cauldron blog and The Kalendar Series of books. There is a long story regarding how I got here, and why I have made the creative choices that I have made, but they aren’t really important right now. What is important is that I have developed a magical system which I believe to be meta-modern or post-post-modern if you will have it. I have done this with a key opening move: tracing the essence of all magic down to its roots in two sources: language on the one hand and number on the other.
With language, there is the question of which one to base it on? But I submit that any effort to base Integral Magic on a specific language is doomed to failure; thus I have chosen instead to base it mostly on the sound symbolism of the International Phonetic Alphabet, the cross-linguistic universal generalizations which have defined the essential capabilities for virtually all recorded languages. To connect the symbols of IPA with number, I have found that the ternary numbering system is ideally suited for representing a very large number of vowels and consonants (the number base in which the numbers of 0, 1, and 2 represent all possible values). Indeed, when the numbers are represented in simple line glyphs, the first 12 symbols correlate to all the most popular vowel sounds, and the next 27 symbols can be taken to represent all the most widely used consonant sounds.