SEVEN TRAITS OF HIGHLY MAGICAL PEOPLE

23 August 2013, by Carolyn Elliot

1. You know you’re magic.

This is the big one. In their heart of hearts, everyone is magic. But most folks just don’t know it. It’s very sad, and it’s not their fault. They’ve had the awareness beaten out of them one way or another. Our society in general is very anti-magic.
Magic people always have a mission. And part of that mission is to help folks still stuck in the clay (that’s my way catchy of saying “folks still stuck in naive materialism and unaware of their innate magic-ness”) understand that magic is real and within them, too.
So basically, if you know you’re magic, you’re ahead of the game. Which means you don’t really need this article – but look, it’s the internet and we’re just having fun.

2. Synchronicities happen for you – a lot.

And they tend to speed up when you spend a lot of time on meditation, art, ritual, intentional movement or prayer. Sometimes these synchronicities are just cute or silly, but often they’re life-changing and dramatic.
The biggest synchronous thing that can happen to a magic person is to meet another magic person. Or a whole enclave of them. It’s thrilling. It’s overwhelming. It’s love.
When lots of synchronicities are going on, I like to say “the jewel net is moving.” Why?

Because we’re all jewels in an infinitely connected web of silken joy.  

And sometimes the net shifts and folds in on itself and we run smack into a whole bunch of other jewels. And it’s great.

3. You’re sensitive to seasons and lunar cycles.

The more magic you are (and remember, being magic is mainly a matter of… knowing that you’re magic!) the more the energies of light and the two big cosmic lamps in our region (the sun and moon) affect your business.
You might find that you can’t sleep on full moon nights (all that energy, so ramped up!) and that you go through epic mythopoetic cycles of emotional birth and death as spring turns to summer turns to fall turns to winter.

4. You have very vivid dreams.

Magic people have at least partially developed aetheric bodies. This means, at the very least, that one or more of their chakras (Rudolf Steiner liked to call them “lotus flowers”) are open and active.
Maybe you’re a magic person with a giant, pulsing, highly-empathic heart chakra. Or maybe your third eye is open and you have an easy time seeing the visionary fluid dance of all things.
At the highly developed end of the spectrum, magic people have fully-formed aetheric bodies that can freely navigate the astral planes.
But having your aetheric sense perceptions open, even a little bit, means that you can see more vividly in the nighttime dream world than others can. So, you got that goin’ for you. Which is nice.

5.  When you fall in love, it’s psychedelic.

Forget a loaf of bread, a jug of wine and thou. When a magic person falls in love (very probably with another magic person), it’s more like a sheet of acid, a gallon of mushroom tea and thou. And I’m not saying that actual drugs are involved.
I’m saying that the intensity of dopamine and oxytocin rushes, in magic brains, tends to produce more than just sexy-cozy-attachment.
They tend to also unleash psychic perception (you can read your lover’s thoughts – like, for reals – not just “I was thinking of you!” “I knew you were thinking of me, baby. ‘Cause I was thinking of you!“), encounters with your lover in the nighttime dream world, ecstatic sex that ruptures the boundaries of your identity, and other fun stuff.
Also, be careful with all that. It can get hairy if your lover happens to be one of those not-really-very-stable-or-sane magic people. Of which there are quite a few.

Magic people fall in love and it’s all like, whoah.

6. You have an abundance of prana.

Or creative energy. Or genius, or whatever you want to call it.
Wilhelm Reich called it “orgone.” Kant called it “Geist.” Emerson called it “Soul.” Mezmer called it “animal magnetism.” It’s sexual energy which transmutes into different feeling-tones when centered in different chakras and channels in the body.
In other words – even though it’s sexual energy, your abundant prana doesn’t necessarily feel “sexy” (although it probably does in spring and summer). It might just feel buzz-y or space-y or urgently creative.
You get seized with the need to write that poem, plan that ritual, record that song, make those spicy ginger fudge brownies. It’s implacable.
Also, no matter what you look like, folks tell you that you’re “hot.” And they mean it. You are. You radiate the light and heat of the cosmos. You’re a star, you magic darling!

7. You love to spread the magic around.

Your chief motive for making art, cooking great food, tending your garden, whatever – isn’t to be rich or famous. Though that could be cool.
If you’re magic, your biggest motive is to spread the magic around, because you just can’t stand not doing it. The magic is so fun, so beautiful, so warm, so true.
This means that it drives you a little crazy when you can totally see the magic in someone, and they can’t see it in themselves.
It drives you maybe even more crazy when you can totally see the magic in the world, and the world at large seems to not tenderly care for and appreciate its own magic.
So, you put effort everyday into doing stuff that increases the sum-total of magic and wonder and joy and love and delight in the world.
You turn up the volume on everything gorgeous so it can’t be ignored.

In conclusion,

You’re magic and I am too, and I love you.



Carolyn Elliott really digs metta meditation and weird poetry. She’s the author of Awaken Your Genius: a 7 step guide to uncovering your creativity, which will appear next fall from North Atlantic Books / Evolver Editions.  She blogs over at Awesome Your Life, and facilitates a Facebook Group (which you’re welcome to join) called The Dreamer’s Tantra, devoted to dreaming ourselves awake.

http://www.rebellesociety.com/2013/04/16/7-traits-of-magical-people/

ABRAHAM HICKS – IF HE LETS THE STREAM CONTROL CONDITIONS

MANDALA: THE SACRED ART OF TIBETAN BUDDHISTS

Bhavika October 7, 2008
 

An art that has been carried on for centuries, symbolising the universe and believed to create a positive environment. I am referring to the Tibetan Buddhist sacred art of Mandala (means circle in Sanskrit), which is made by monks from millions of grains of dyed sand or paint. A bit similar to Rangoli made by Hindus.

Monks spend days to make this intricate masterpiece, with utmost care and precision, as you will see in the pictures below. Mandalas are believed to assist in purification and healing and represent the Buddhist value of compassion, so the process of making one, as you will find out, involves few rituals, even while destroying the design.

The process of making a mandala starts with an opening ceremony, when the monks will pray and chant to sanctify the place, then draw the detailed design from the center outwards on a wooden platform.




Monks start filling the circular design using metal funnels called ‘chak-pur’. The vibrations of the chak-pur being grated with a metal rod causes the sand to flow like liquid.



Apart from sand even powdered flowers, herbs, stones, or grains are used. In ancient times, powdered precious and semiprecious gems were also used.



The design consists of various deities with the principle deity in the centre of it, so mandala also serves like a meditation tool. Traditionally, mandalas are destroyed shortly after its completion, in a ritual ceremony.



The monks ask for blessings of the deities, and as they chant the mandala is slowly wiped off to serve a reminder of impermanence of life, a Buddhist teaching. The sand is then collected and dispersed into the sea to spread its healing power to the world, you know the the power of thoughts on water molecules, it transforms into beautiful designs.

http://fractalenlightenment.com/798/artwork/mandala-the-sacred-art-of-tibetan-buddhists

'LIFTING THE SKIRT' WITH AMANDA SAGE'S ART

Bhavika March 1, 2013

‘Empowering’ was the first word that popped in my head when I went into/entered the visionary world of artist Amanda Sage. Based in Los Angeles, Amanda aims to create portals that open to the infinite possibilities of being and expressing, to help remember and re-discover who we really are, where we originate from and where we are headed.

One of the main reason I love visionary art is because of the experience of losing yourself into multiple dimensions blended to perfection to narrate a cosmic story on a single canvas. Through her art, Amanda seeks to challenge the viewer to question and evolve out of ignorance and dissolve the conditioning by the society.

Fractal Enlightenment got in touch with Amanda to know more about her art, inspiration, her experience with the pioneer of visionary art – Ernst Fuchs – and what lies ahead.

Visionary artist Amanda Sage

“I feel driven to explore and push the boundaries of what I see and understand and at the same time seek balance and beauty through my art. I would say that the path has defined the result and that visionary art choose me.

As a child I remember seeing colored energy fields around people, and I feel that through painting I am remembering and looking even deeper,” she said.

The Shaman

Her adventurous spirit carried her to Bali, then on to Vienna, Austria to study classical painting with Michael Fuchs, resulting in becoming a long time painting assistant to Ernst Fuchs. “At times it was the most difficult thing that I knew. When I was working with him, he was like a slave driver who expected me to be painting or doing something for him all the time. 

At the same time though, there was so much genius wrapped into many of the projects, and I really had to learn to be flexible. The level of unwavering commitment that he has for his art and vision was inspiring to say the least. And most of all how he would always look at his work with fresh eyes and challenge himself and the viewer.”

Ana Suromai – Women have been lifting their skirts for centuries to ward off evil and enhance fertility. This symbolic act is also found in mythologies of various cultures, specifically in those of ancient Egypt, Greece, Persia, Ireland, Africa, Indonesia & Japan

One of her most talked about piece is ‘Ana-Suromai,’ derived from the Greek word meaning ‘to lift the skirt’. According to Amanda, this painting is an outcry a visual denouncement of the corrupt system that has brought our world to a state of chaos, based on greed, war profiteering, and the mindless consumption by the masses. “It symbolizes the awakening of our personal power, shocking one into introspection as this system is in the process of crumbling.” This painting was unveiled at the 2011 Burning Man Festival in the Nevada Desert.

The Oracle

If you look closely you will find that an egg is a recurring symbol in many of her paintings, Amanda explained, “I consciously began using an egg in 2006 after going on a vision quest to find the perfect form that I could put anything in and feel completely safe to explore and unfold within. 

This form appeared to me in a painting titled ‘Dreams,’ where a mystical snake held an egg in its mouth. I see it now as a window or doorway into infinite realms of reality.”

Gateway to the Emerald Kingdom

Often developing these ideas takes a lot of effort and one is always confronted with having to make a choice. She explained, “When I am painting, I often find peace, and/or a battlefield that whisks me into a problem solving world…Even as I go down dark, destructive paths looking for the light, the pressure of those places drives me to see where I want to go even clearer. Sometimes you have to get lost to find yourself.”

Mind

Its always difficult for an artist to be able to pick one painting that reflects their journey on this path, but Amanda gave it a shot.

”The painting that speaks the most of the dream I care so deeply about is ‘Regeneration’. It is deeply personal and reflects a journey that I am on and discovering.”

Regeneration – “It has an overall uplifting vibration about it and is about celebration, healing and love.”

Seeking inspiration from various visionary artists like Frida Kahlo, Leanora Carrington, Remedios Varo, Salvador Dali, Mati Klarwein, Robert Venosa and Alex Grey, Amanda has played a prominent role in the growing visionary art movement through exhibiting, teaching and participating in major festivals.

Spirit visionary art

She is set to open the Vienna Academy of Visionary Art along with her colleagues this fall. “Besides I have a new series of paintings to embark on as I also explore and travel the world as a witness on a grand quest to support the blossoming of planetary consciousness,” she explained.

Orphic Awakening

http://fractalenlightenment.com/14341/artwork/lifting-the-skirt-with-amanda-sages-art

VIPASSANA ~ A PATH TO SELF AWARENESS

 Clyde October 28, 2013

 

Vipassana is the way to see things as they really are; it is one of India’s most ancient techniques of meditation that was rediscovered by Gautama Buddha more than 2500 years. He then taught vipassana as a way to enlightenment and a universal remedy for day-to-day problems.

Vipassana saw a resurgence with S N Goenka, who after learning vipassana started teaching others in 1969. This has lead to a whole lot of vipassana institutions cropping up around the world that offer the 10-day course free of cost.

Vipassana is a technique that will eradicate suffering, it is a method of mental purification which allows one to face life’s tensions and problems in a calm, balanced way. The path of Vipassana is not easy and during the course there are many who do not complete it.

The Origin and Spread of Vipassana::

I went through part of this video which shows how Buddha gained enlightenment through Vipassana, how it changed him and how he started teaching people Vipassana to help them get rid of their earthly problems.

The video has nice images for each step of the journey and although the message of Vipassana to enlightenment may be pushed in a little too often.

Doing Time, Doing Vipassana:
 
Doing Time, Doing Vipassana is a full length documentary that talks about how Vipassana was introduced into the Indian prison system and the positive effect it had not only on the prisoners but even improved the interactions between the jail wardens, prisoners and their families. It also includes the story of how Kiran Bedi, the former Inspector General of Prisons in New Delhi, India, strove to transform the notorious Tihar Prison, the largest complex of prisons in South Asia, and turn it into an oasis of peace.
One very interesting part is when a murderer of three people, whose heart is filled with vengeance and is waiting to get out of prison to kill his enemies, undergoes a transformation through Vipassana and ends up filled with compassion. He even calls up the family of the people who he murdered to ask for their forgiveness.




The Dhamma Brothers:

Here’s a documentary film about a group of prison inmates who participate in a 10-day Vipassana retreat at the Donaldson Correctional Facility in Alabama. The film asks “is it possible for these men, some of whom have committed horrendous crimes, to change?”

The Dhamma Brothers tells a dramatic tale of human potential and transformation as it closely follows and documents the stories of the prison inmates as they enter into this arduous and intensive program.



Vipassana Experience:

Here’s one of my friend’s Amit Ayre’s Vipassana experience, “It started off really well. Excited to learn something new on day 1-2. By Day 4, I was done. Felt like I was wasting my holidays because of boredom. By day 5 morning, mind was made up and I was all set to quit. But then something happened. I spoke to the Guruji, who asked me to give it another day. I did. That was the day we started learning the Vipassana technique of meditation. Day 6 onwards, the actual journey started for me.



It was wonderful after that, I started feeling the vibrations as we progressed. At one point, I felt they were mixing something in my food because of the experience, the vibrations and all that was surreal. Something I could not have imagined possible without psychedelics.

The best part of the day was the discourse where they played a pre-recorded message from S. N. Goenka, it was insane because he had an explanation for whatever was happening with me throughout the day. Everything we did throughout the day and why we did what we did as well as a lot of knowledge about the inner workings of your mind.

On day 10 we started talking and sharing experiences, it was simply wonderful, to add to that, it was also a full moon night. We were done with collecting all the new thoughts and new ideas. I spent that night under the stars, reading up, making notes, questions to ask etc. Another perk was the ability to connect with some incredibly awesome people, it was like Amit 2.0.”

There are hundreds of other Vipassana experiences online and on Youtube. If you are interested in doing a Vipassana course, you can apply for a scheduled course here
 
The Vipassna Course:

People who apply for the course have a strict code of conduct to follow for those ten days. They can’t have any connection with the outside world, all electronic devices are given to the management for this period. They have to maintain silence most of the time, simple vegetarian meals are provided, and neither can one write or read. No physical contact with the same or opposite sex are permitted and perhaps the most important is to declare that you are willing to comply fully with the teachers guidance and instruction during the course.

Apart from that you have to abstain from killing any being, stealing, all sexual activity, telling lies and all intoxicants. If you are a returning student or have done a course earlier then you have three more rules,
abstain from eating after midday, sensual entertainment and bodily decorations and from using high or luxurious beds.

The daily Vipassana course time table is as follows ~

4:00 am

Morning wake-up bell

4:30-6:30 am

Meditate in the hall or in your room

6:30-8:00 am

Breakfast break

8:00-9:00 am

Group meditation in the hall

9:00-11:00 am

Meditate in the hall or in your room according to the teacher’s instructions

11:00-12:00 noon

Lunch break

12noon-1:00 pm

Rest and interviews with the teacher

1:00-2:30 pm

Meditate in the hall or in your room

2:30-3:30 pm

Group meditation in the hall

3:30-5:00 pm

Meditate in the hall or in your own room according to the teacher’s instructions

5:00-6:00 pm

Tea break

6:00-7:00 pm

Group meditation in the hall

7:00-8:15 pm

Teacher’s Discourse in the hall

8:15-9:00 pm

Group meditation in the hall

9:00-9:30 pm

Question time in the hall

9:30 pm

Retire to your own room–Lights out

 

Resources:

Dhamma Vipassana Image

http://fractalenlightenment.com/15406/spirituality/vipassana-a-path-to-self-awareness

THUGINE, THE RAINBOW AND THE WANDERING BOYS

Far to the west in the deep blue sea there dwells a great serpent named Thugine. His scales are of many shimmering colors. When a rainbow appears in the sky, it is Thugine curving his back and the sun reflecting the colors of his scales.

Many years ago, a tribe of blacks camped close to a sea beach. One morning they all went out to fish and hunt, with the exception of two boys, whom the old men left in charge of the camp. Wander not into the forest lest the wild dogs eat you, or to the beach, where Thugine the serpent is -waiting for children who wander alone." This was the parting advice of the old men to the boys.

When the men had departed, the boys played about the camp for a while, but they soon grew tired of their games. The day was very hot, and in the distance the boys could hear the dull, deep booming of the surf. Both the boys were longing to go to the beach, but were afraid to speak their desire. At last the elder boy spoke, and said: "The fires of the sun are burning bright to-day, but on the breeze I can feel the cool breath of the sea. Let us go to the beach, and we shall return before the shadow of night has fallen. The men will not know." The other boy hesitated and was afraid, but at last he yielded, and together they wandered hand in hand through the bush.

After walking for some time they came to an opening in the trees, and, before their expectant gaze, a wonderful scene unfolded. A golden beach stretched far away until it was lost to view in the dim distance. The cool waves rolled lazily in great green billows from the outer reef, and dashed in a haze of sparkling white foam on the hot sands of the palm-fringed beach. The song of the sea rose in a deep, loud booming, and gradually died away to a low, soft murmuring. The boys were lost in wonder at the beauty of the scene. Never had they seen such an expanse of water sparkling in the sun like the blue sky. Over its rippled surface the shadows ,of the clouds floated like sails across the sun.

Thugine, the serpent, had seen the boys coming from afar, and, while they played on the beach, he swam swiftly and silently to the shore and seized them. When the men arrived at the camp, they discovered the absence of the boys. They searched the bush all through the -night, and at dawn came to the beach. Far from the shore they saw two, black rocks jutting out of the sea. Then they knew that Thugine had taken the wandering boys and turned them into rocks. The men turned their faces again towards the camp; their hearts were heavy and their thoughts were sad.

To this day the rocks remain between Double Island Point and Inship Point, When a rainbow appears in the sky, the old men of the tribe tell the story of the disobedience and punishment of the wandering boys.

http://www.sacred-texts.com/aus/mla/mla17.htm

HOW THE SUN WAS MADE DAWN, NOONTIDE AND NIGHT

When the emu egg was hurled up to the sky it struck a great pile of wood which had been gathered by a cloud man named Ngoudenout. It hit the wood with such force that the pile instantly burst into flame, and flooded the earth with the soft, warm light of dawn. The flowers were so surprised that they lifted their sleepy heads to the sky, and opened their petals so wide that the glistening dewdrops which night had given them fell to the ground and were lost.

The little birds twittered excitedly on the trees, and the fairies, who kept the snow on the mountain tops, forgot their task, and allowed it to thaw and run into the rivers and creeks. And what was the cause of this excitement?

Away to the east, far over the mountains, the purple shadows of night were turning grey; the soft, pink-tinted clouds floated slowly across the sky like red-breasted birds winging their way to a far land. Along the dim sky-line a path of golden fire marked the parting of the grey shadows, and down in the valley the white mist was hiding the pale face of night.

Like a sleeper stirring softly at the warm touch of a kiss, all living things of the bush stirred at the caress of dawn. The sun rose with golden splendor in a clear blue sky, and, with its coming, the first day dawned. At first the wood pile burned slowly, but the heat increased, until at noonday it was thoroughly ablaze. But gradually it burnt lower and lower, until at twilight only a heap of glowing embers remained. These embers slowly turned cold and grey. The purple shadows and white mists came from their hiding-places, and once again the mantle of night was over the land.
When Ngoudenout saw what a splendid thing the sun was, he determined to give it to us for ever. At night, when the fire of the sun has burnt out, he goes to a dark forest in the sky and collects a great pile, of wood. At dawn he lights it, and it burns feebly until noonday is reached, then it slowly burns away until twilight and night falls. Ngoudenout, the eternal wood gatherer, then makes his lonely way to the forest for the wood that lights the fire of the sun.

http://www.sacred-texts.com/aus/mla/mla16.htm