Samantha's Pantyhose JO
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72:00
So I thought: how much could you effect reality by writing a comic that mimics reality, but pushed it in weird directions? So round about 1997, I decided that I would really seriously turn this thing into a super-sigil. And it was based on the idea that: if you look at cave art – the first art was done; the first writing that was done, basically as art. And if someone wanted to make something happen; like, if you were in the — like, if you were some fucked up caveman in a cave somewhere, worrying about your dinner. What do you do? You draw a bison on the wall; stick some spears in it. Go out, and the bison dies filled with spears. “Hey, man! We can make this happen!” Slowly, those things become words; they become abstractions – complexes of meaning. And you can take that basic idea, and – as we’ve seen – people like Austin Osmond Spare, the magician from the early part of the century, or Crowley, or the chaos magicians of the eighties who were a big influence on me – they used this stuff. And like I say, what you can do is this: go home, write down a desire; it’s quite simple, what you can say is: “It is my desire that my cat wins the Olympics.” Take out all the vowels.. - Write this down, for fuck’s sake! Don’t just listen; do it! Right? - Take out the vowels, and you’ll be left with a string of consonants. Take out all the repeated consonants, and you’ll be left with a string of consonants with no repeats in it. X, Y, A, D, whatever. Turn that thing into a little image. Take the D, draw a big D. Then you’ve got a T; draw a big T on it. Keep reducing it down until it looks magical. And there are no rules for this thing. Do it until it looks magical.
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