All posts by Fenwick Rysen

A Quick Guide to Lucid Dreaming

By Fenwick Rysen | April 22, 2001 | Leave a comment

From: Fenwick Rysen
To: zee-list

lo eskis o

I keep hearing things like:

>> Yep. I WISH I could get the hang of lucid dreaming…!
> ME TOO!!! :)

It’s not all that hard. Here’s a basic exercise that’s been working for me for years now. Took me about three weeks before it worked, so expect some buildup time. But if you stick with it, I *guarantee* you will begin lucid dreaming.

First of all, in your everyday activities, start randomly asking yourself the question, “Am I dreaming?” Ask the question, and then focus on your bodily sensations, to see how “real” they are. Then try to do something you could only do in a lucid dream, like change the color of the floor. Obviously, if you are awake, this is not going to work. However, if you do this a few times a day consistently over a few weeks, it becomes a habit that wires itself into your subconscious (it takes roughly 30 days to completely form or destroy habits).

After a while, you will be dreaming some night when the habit is so deeply ingrained that you will ask “Am I dreaming?” while you are dreaming. You might notice that your body feels slightly different when lucid dreaming, and you *will* be able to change the color of the floor, as well as change and guide other aspects of the dream.

When you first become lucid in your dreams, there will be a tendency to wake up: When the mind becomes conscious, it decides that it’s time for the body to do the same thing. Just keep trying, and focus on staying asleep the first few times out. After a while you will be able to remain asleep when lucid dreaming.

I don’t highly recommend trying to fly when you first begin lucid dreaming. If you take off straight up into the air, it leaves nothing around you in your dreamscape, and it becomes even harder to find something to stay related to to keep you asleep. Get some practice just wandering around your dreamscapes and changing minor things before you start doing the spectacular. Of course, if you want to start flying your first night, go for it, but you may cut your dream short.

I cannot convey the importance of a dream journal in helping with this work. Keep a notebook or, better yet, a tape recorder beside your bed and record your dreams *immediately* upon awakening. You don’t need to cover every detail, just the major points. And you’d be amazed at what can slip away in just five minutes if you don’t write it down immediately. If you keep a recorder, transcribe the major points to a journal on a regular basis, before the job becomes to huge to tackle.

A dream journal will help you begin to remember more of your dreams, giving you more chances to become lucid. It will also have some other benefits, such as showing you patterns in your own subconscious. Avoid books on dream interpretation like the plague; you are the best judge of what symbols mean to you. And if you don’t want to interpret them, then don’t. The main goal is to start remembering more of your dreams.

I hope all of this helps. I have had great success with just this one technique alone, but it *does* require that you stick with it long enough for the habit to form (typically 3-4 weeks). Don’t expect success overnight: There is no fast food service line for mastery of the occult arts. However, the effort is well worth it.

So to all you people who’ve been whining: It’s not all that hard, just give it some dedication. I’ll see you in dreamland.

In Life, Love, and Laughter
–Fenwick Rysen

DNA Magick

By Fenwick Rysen | December 21, 2000 | Leave a comment

Subject: Re: [zee-list] Re: DNA and the four elements?
Date: Thu, 21 Dec 2000 10:53:08 -0600 (CST)
From: Fenwick Rysen < fenwick[at]chaosmatrix[dot]com >
To: zee-list

lo eskis o

On Mon, 11 Dec 2000 wrote:

<< I have been researching genetic manipulation and I am wondering whether anyone has any ideas as to how they would connect the four elements to the four nucleotides >>

Kick ass! Up until now, I thought I was the only mage with the chemical structure of DNA jotted down in his book of shadows!

I did a lot of work with DNA magick in a short period, and while I didn’t really attribute directly to elements, I did place Adenine and Thymine at opposite ends of the circle, and Guanine and Cytosine at opposite ends of the circle. I ignored directions and elements. I drew their chemical structure in their quarter (sidewalk chalk is a magicians best friend), and stood upon a drawing of Deoxyrybose, that sacred sugar that bonds the four together in the spiral of life.

Instead of drawing up a “cone” or power, I envisioned standing at the center of a double helix stretching to infinity above and below.

I separated my magick into two circles, DNA Magick which had Cytosine as one point, which was mostly information-gathering, introspective work. Then I’d continue a working by replacing the drawing of Cytosine with Uracil, and switch to RNA magick, where I took the information I’d gained, and manifested it into the real world, building up aethyric proteins, as it were. Fun stuff.

My own thoughts after playing with it were that DNA was truly primal, very atavistic magick. I’m not sure you *can* match them to the elements properly. Or at least I couldn’t. But this is chaos. Whatever works! I’d be interested to see whatever system you work our for it. DNA magick is really fun stuff.

Keep us informed!

In Life, Love, and Laughter

–Fenwick Rysen

Methods of Gnosis

By Fenwick Rysen | November 17, 2000 | Leave a comment

To: alt.magick.chaos
From: fenwick[at]sonic[dot]net (Fenwick Rysen)
Date: Sat, Sep 26, 1998 23:24 EDT
Message-id: <6ukb4k$ilk$>

lo eskis i

Quoth Polaris (

<< I was wondering if anyone could tell me a few ways to achieve gnosis that do not involove sex or drugs (yes, I know that those are the best). >>

Not necessarily the best, though probably some of the most common.

Others include:

  • Hyperventilation
  • Confronting a fear (snakes, heights, etc)
  • Strong emotive force (love, hate, rage, confusion, etc)
  • Meditation (to vacuity or other state)
  • Pain
  • Spinning (dizziness/confusion)
  • Staring into a strobe light
  • Running to complete physical exhaustion
  • Holding it as long as you possibly can before going to the bathroom
  • Adrenaline rush (bungee jumping, parachuting, holding up a 7-11, etc)
  • Drumming
  • Chanting
  • Mantras
  • Singing
  • Listening to music Really Really Really loudly (especially ambient music)
  • Creating artwork
  • Holding your breath (either with or without air in your lungs)
  • Hunger and/or thirst (fasting)
  • Sensory overload (For example, pain, sex, fear, hyperventilation, loud music, and strobe light all at once)
  • Sensory deprivation
  • Listening to white noise until it’s no longer white noise
  • Sitting on a powerpoint (most graveyards, incidentally, are powerpoints)
  • Blood rush to head (standing on your head or hanging from your feet)
  • Shamanic body postures (see the works of Belinda Gore and Felicitas Goodman)
  • Killing something (go get your hunting license and kill bambi– he’s overpopulated, he tastes good, *and* he’s healthy for you!)
  • Sacraficing something you value
  • Rollercoasters (works best if you keep your eyes shut)
  • Gazing (crystal balls, pools, mirrors, a random spot on the wall)
  • Sleep deprivation (aim for five days or more for best results)
  • Lucid Dreaming (do *not* combine with sleep dep—
  • insanity results, trust me, I know from personal experience. I’m better now… Honest!)
  • Martial Arts (if you’re willing to make a ten year investment)
  • Jumping through a bonfire
  • Dancing
  • Lighting yourself on fire (WD40 or a rubbing alcohol and water mixture)
  • Mosh Pits (actually just a combination of Loid Noise, Dancing, and Pain)

There are more. Use your imagination.

Of course, there’s my personal favourite of just practicing magick *EVERY DAY* until you can summon up gnosis without special preparations. The *methods* of achieving gnosis should not be confused with the gnosis itself. With practice, the methods become unnecessary and the magician gains access to gnosis directly.

In Life, Love, and Laughter

–Fenwick Rysen

Chaos Matrix

The Fluid Continuum –or– What the f***’s an Egregore?

By Fenwick Rysen | September 1, 1999 | Leave a comment

From: Fenwick Rysen
Newsgroups: alt.magick.chaos
Subject: Re: one other question — egregores
Date: 1 Sep 1999 16:10:35 GMT
Organization: Chaos Matrix (

lo eskis i

WOW! Two good questions in the same day! Is a.m.c. coming back from the dead? No, it’s probably just the statistical good day we’re allowed after a year of crap.

Quoth Jim Mooney (

<< Of the three books I just got on Chaos Magic, they all mention egregores, but there is not much of a definition of the term, except by context. Could someone here give me a good definition >>

Well, the best place to look is any decent dictionary. I’d give you the definition out of the copy of Webster’s Ninth New Collegiate that I keep on my desk, but it’s not a good dictionary—it doesn’t even have it in there. Essentially, “egregore” is an older English word that seems to be fading out of use. It refers to the “spirit of a thing”, usually referring to some organization humans create (clubs, states, fraternities, counties, etc.) that summates its principles, beliefs, and goals, and guides people in accomplishing them.

A good example of such an egregore is when someone say a project has “taken on a life of its own”.

That’s a traditional egregore. In chaos magick, it’s slightly different. I consider it as part of a fluid continuum describing the strength of an entity. You start out with dumb, unintelligent sigils—these just represent something, but don’t actually think. Charge a sigil long enough, and you’ll end up with a servitor, which is usually either completely stupid but capable of doing complex tasks, all the way up to being able to think on its own and deduce things in its operation.

But when a servitor gets really big, what happens to it? The moment it becomes more than one person can handle, I consider it an egregore. At this point, it becomes capable of making some of its own demands, guiding its own work (though usually along the lines of the original goal of the people who created it) and in general “taking on a life of its own”.

Once you get bigger than this, you get a godform: something that has grown so strong that the people involved with it take up a subservient relationship, often worshiping it, or appealing to it for help. (My apologies to any gods not created in this fashion who may become offended by such a simple explanation for their existence.)

So you get


Or at least, that how it works in my own little twisted version of reality. If it makes sense to yyou, use it, if not, scrap it and try something else. Remember, chaos magick is about whatever works for *you*, so you don’t need to adopt any of my own explanations or the baggage that comes with them unless you want to. Get a few other people’s opinions, do some reading, and formulate your own views.

Big Evil Corporations (or good ones, for that matter) can be considered a kind of egregore. Hmm….. “Legal Entity”….. Might be something there worth playing with.

Good luck to you. In Life, Love, and Laughter ___ o | –Fenwick Rysen / ICQ:3699476, Nick:”Fenwick” .__|__. | ___ | “The only prevalent characteristic of chaotes is their / ability to confuse you beyond all hope of rescue.” | —Mathias Karlsson

Fotamecus Empowerment Rite

By Fenwick Rysen | October 25, 1997 | Leave a comment


Fotamecus is a historically recent addition to the pantheon of deities associated with time, the other major one of note being Chronos. But whereas Chronos is associated with the concept of time as fixed and immutable, Fotamecus depends on the concept that time is fluid and malleable. It is because of Chronos’ restrictions of freedom through the concepts of fixed time that Fotamecus has decided to wage war on him; the following ritual is aimed at aiding Fotamecus in the war against Chronos, and in gaining his favour through helping him. Because modern societies are completely dependent upon clock and currency (time is money), aiding Fotamecus in destroying current conceptions of time can be considered one further step in the immanentization of the eschaton.

Materials Required:

  • A drum
  • A small digital clock (a dot clock for a car dashboard or a small child’s watch is cheap and effective)
  • A roll of toy caps (or other material that explodes when hit). DO NOT use blasting caps, or caps for rifles/shotguns/etc— The idea is to create a small “BANG”, not to take your hand off!
  • A rock, heavy enough to smash a small digital clock and roll of toy caps.
  • Three people: Drummer, Chronomancer, and Warrior.
  • Observers (optional), as many as want to watch this rite.


-15. The participants enter a dark place clad however they see fit. No one should be wearing a timepiece, nor should one be present in the working space. The Drummer should be carrying the drum, the Chronomancer the small digital clock, and the Warrior the roll of caps and rock.

-14. The Drummer, Chronomancer, and Warrior face each other in a triangle, and plant their feet firmly at shoulder width. Any other participants form a circle around them, observing this ritual.

-13. The Chronomancer looks to the Warrior, a question on his face, mentally asking if the Warrior is resolved to perform this rite. The Warrior nods, and presents the rock and roll of caps in his weapon hand.

-12. Resolution affirmed, the Chronomancer presents the clock to the Drummer, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite. The Chronomancer then presents the clock to the Warrior, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite.

-11. The Chronomancer raises the clock to the sky, presenting it to Fotamecus. All participants look up, summoning Fotamecus with their thoughts, asking him to come and see the sacrifice that is being made to further his was against Chronos. Observers should now visualize the Fotamecus sigil, and keep it somewhere in their minds for the duration of the rite.

-10. Whether Fotamecus presents himself or not, the Chronomancer then cups the clock between both hands, and the Drummer begins to beat the drum slowly and steadily (60-80 beats per minute). Here is symbolized a return to natural rhythms— the beat of the drum reveals itself once the clock has been hidden from sight. All participants should contemplate this for a few moments.

-09. Clock still hidden between cupped hands, the Chronomancer lowers his head and closes his eyes. The Chronomancer then focuses on his conceptions of time. The beat of the drum, he notices, is the same rhythm as that of his heart, that of the turning of days, that of the wheel of the seasons… a steady measurable beat, yet a beat that can change at any time. This is opposed to the machine trapped within his hands, a cold, calculating piece of machinery that measures off time as if it were a commodity with fixed value, a value determined, in fact, by the “dollars for hours” mentality of those trapped by this conception of time. The Chronomancer is overcome with disgust for this conception of time, this linear, immutable, mind-numbing procession of numbers that only mean something because everyone agrees to the same hallucination of time as a fixed phenomenon. How can this be? The drumbeat may alter its speed, and is measured only by beat-pause, beat-pause… There are no numbers to the beating of your heart or the turning of the days or the wheel of the years— they are infinite, and forever differing, the space between them a matter of perception.

-08. All other participants are encouraged to be thinking similar thoughts, focusing their disgust for a concept of fixed time upon the clock in the Chronomancer’s hands. The Warrior, in addition to contemplating his disgust for fixed time, also feels this disgust rising as the desire to destroy fixed time. Yet as the perfect Warrior, he realizes that he must wait— the time, he realizes, is not right… And he will not know how long he must wait; it cannot be measured in seconds or minutes or hours, only in patience. And once this clock is destroyed, there will be others— events are not bound by time, time is bound by events both done and yet to be done. He will wait for the right moment to destroy this clock, knowing that even after this act is done, there will be other clocks to destroy. This Warrior’s task is never completed.

-07. The Drummer, after a suitable amount of time has passed (up to the Drummer’s judgement), slowly begins to raise the pace of the drum. This helps to emphasize that time is mutable, and to encourage others to act— time never runs out, but it does pass you by.

-06. The Chronomancer, filled with his disgust for the object in his hands and hearing the increasing drumbeat, realizes that something must be done. He could cast the disgusting clock away, but that would solve nothing beyond a temporary relief. He could destroy the clock himself, but he has no weapon and is not trained in their use. Instead, surveying those around him, his eyes meet those of the Warrior, and both of them realize that the time has come— The Chronomancer is in need of a means of destruction, and the Warrior is ready and willing to destroy.

05. The Chronomancer opens his fist and reveals the clock to the Warrior— The Drummer raises the pace of the drum quickly (140-210bpm, depending on taste/preference/situation), reflecting his inner state. The Drummer’s heart races at the sight of the clock. This device is the death of him— long ago the way of the drum was abandoned for the way of the clock. The people left the ways of Fotamecus and adopted the delusions Chronos offered them. As long as this clock exists, the safety of the way of the drum cannot be ensured. Still, the Drummer stands and beats his drum, for the ways of Fotamecus are needed now more than ever.

-04. There is a request in the Chronomancer’s eyes, one that the Warrior understands. The Warrior presents his rock, and the Chronomancer smiles, holding the clock out to him. The Warrior takes t he clock, and the Chronomancer returns to a steady posture, proud, knowing that the right thing has been done.

-03. The Warrior does not smile— celebration now would be premature. His patience has been rewarded, and he has been given the opportunity for action, but the action has not yet been taken. He prepares for action by thoroughly examining his enemy. He takes in the clock in its every detail, coming to know it better than it knows itself. He begins to see its weaknesses, and contemplates them— This machine requires such precision that the slightest impact will destroy it. Its grip on reality is a tenuous one at best. But though it may appear weak, the Warrior realizes that it is the power of the thinking behind this device that must be destroyed. Let the destruction of this clock act as inspiration to others to destroy their timepieces. And let the power of its destruction feed Fotamecus in his war against Chronos. Let the act of this destruction show the world that Fotamecus has his allies among the living, amongst those who refuse to become ensnared in the trap Chronos has laid for them.

-02. The Warrior drops to one knee, and prepares his victim. All participants realize the imminent destruction of the clock, and with eyes closed visualize the sigil of Fotamecus with all their intent, thinking— Let this sacrifice empower him.

-01. The Warrior sets the roll of caps upon the ground, and the clock upon that. He places the rock firmly in his hand, and with the sigil of Fotamecus in his mind, raises the rock up and—


01. —With a loud bang and flash of light as the caps explode beneath it. At this moment, the Drummer returns to his earliest drumbeat (60-80 bpm).

02. The Warrior rises, presenting the dead pieces of the clock (or what he’s able to salvage) to the Chronomancer, who takes them from him. Examining them for a brief moment to ensure that the death is complete, the Chronomancer then presents them to the Drummer. Waiting for the right moment, the Drummer ceases to beat his drum, and accepts the destroyed clock from the Chronomancer as a symbol of triumph. Silence permeates the room.

03. All participants exit the working area silently: Observers first (the crowd disperses), then by the Warrior (who knows his task is done), then by the Chronomancer (who realizes that nothing more is to be done). The Drummer looks at the broken clock in his hands, smiles, and then follows a few moments behind, triumphant.

The Sigil of Fotamecus:

[Sigil of Fotamecus]


  1. While this ritual is designed for a group, others are welcome to adapt it for solo use. It is primarily the emotions and symbolism that compose this rite; details are unimportant. Change it to suit your circumstances.
  2. We performed our rite during a time change when Daylight Savings Time becomes Standard Time, in the “hour that does not exist” between midnight and midnight. You should try to time your ritual to coincide with a significant moment in a cycle of time, be it a time change, sunset, sunrise, midday, midnight, solstice, equinox, or otherwise.
  3. This ritual was designed without words. There ain’t none. If you need ‘em, make ‘em up yerself. We were quite happy performing the ritual in complete and total silence, with a loud “BANG” at the end.
  4. Don’t worry about thinking exactly the same things that are written down here; the words in this rite are designed to show you the emotions that you should be feeling during each part of the rite. You don’t need to have an internal dialogue going; you shouldn’t be “reciting the lines in your head”. Let the emotions carry you through the ritual; spontaneous thoughts may arise out of these emotions and acts, giving insight into actions taken. It is the emotive force raised by each individual that powers this rite.
  5. The caps work even better if you have observers who don’t know that they’re being used— They’ll jump in surprise/terror/bewilderment when the clock “explodes”— Gnosis is achieved when everyone wets their pants. Have the Warrior keep them hidden until everyone closes their eyes and he kneels to prepare the clock for sacrifice.
  6. Any participants (or anyone at all) may petition Fotamecus for help at any time after the rite. He seems to show special favor for people who have dedicated themselves to his war. He can compress and expand time quite efficiently, speeding a trip to a destination, or stretching out those peaceful moments you want to enjoy. Time is malleable; otherwise why do this ritual at all? Details about Fotamecus himself are available elsewhere.
  7. After performing the entire ritual in silence, it is often hard to start speaking again— there is a palpable feel that clings to the people who performed the ritual. The traditional way to solve this problem is by performing a banishing ritual. Instead, we prefer to have the Drummer exit last, and to come out beating his drum loudly and screaming at the top of his lungs, breaking the spell that has been cast over the participants. Then banish with food, drink, and merriment!


This ritual was recorded to paper (electron, actually) in a Fotamecus-expanded lunchbreak at a nine-to-five job. Just one more strike against Chronos in the war for time. Praise unto Fotamecus! Smash your clocks! Chronos, your time has come!

This document Copywronged (x) 1997 by Fenwick Rysen All rights reversed. Feel free to copy, hack, splice, mangle, mutilate, spindle, twist, tear, or re-print, as long as this copywrong notice remains intact. Questions to fenwick @ chaosmatrix . com or to Chaos Matrix: