Magickal Intent was performed at Janusware, an art exhibition curated by Lucy Sames, at Res. gallery in Deptford, London on 29th September 2017.
beingres.org/2017/09/12/janusware-2nd-cycle/ The audio piece Sound Sigil version was installed in the gallery which is available to download here.
The performance was partly a derivation of Sigils in Sound, a sigil charging process by Adept Telfer a Temple of Psychick Youth member, posted on their archive. They assigned a sine wave frequency to each letter of the alphabet. Text sigils were then translated into sine wave arrangements. I used deep bass sine frequencies to create the music. I’ve worked with treated voice since 2011. Here, I use a customised glitch VST, set to randomly repeat and reverse parts of my live vocal performance, which is the recitation of the text sigil I made: a variation of William Burrogh's cut up technique. Together, these make a sound sigil that is charged during performance. In a live setting I use hyperventilation as a way to intensify my already altered state that I feel from anxiety states.
I was interested in how TOPY were harnessing altered states for magickal intent, as part of the charging of sigils. I'd been thinking about how altered states are just a part of my being, as someone that has struggled with a generalised anxiety disorder since childhood, and how this can be extended to the ‘symptoms’ of 24 hour neoliberal late capitalism - hunger, panic states, sleep deprivation. I felt at the time that in some current exhibitions and performances I had seen that there was this pull to 'getting the audience into an altered state'. I thought 'we never stop being in altered states.' In parallel, I was concerned with this obsession with 'bettering the future governed self'. I liked TOPY activity because it was about utilising the present for autonomous magickal intent. In my performance Magickal Intent I wanted to redeploy these states. Magickal Intent - Dissociate version is a remixed dark bass studio version where I have tried to capture some of the sense of dislocation of voice and body in the performance.
released March 1, 2018