sorcery

The New Area of Exploration – The Art of Dreaming

In this chapter, Carlos Castaneda progresses to the “new area of exploration” in dreaming, focusing on **seeing energy** by voicing his intent. He recounts his initial struggles with this practice, as items in his dreams would vanish or change. Don Juan explains that his previous dreams were merely “phantom projections” and that true seeing occurs when the **energy body** perceives energy-generating items in a real world. Castaneda describes a vivid dream where he saw objects glow and encountered an aggressive, hateful energy. Don Juan reveals this was a real journey to another layer of the universe, where an entity attacked him due to his “availability.” Don Juan further reveals the profound and disturbing truth that the energy sorcerers use to move their **assemblage points** comes from the **inorganic beings’ realm**, a legacy from ancient sorcerers. Despite the danger, Castaneda is urged to continue his practices, maintain **impeccability**, and strive for **freedom** by subtly “stalking” the inorganic beings and taking their energy without succumbing to their influence.

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Stalking the Stalkers – The Art of Dreaming

Carlos Castaneda recounts his struggles with the collapsing boundary of the **second attention**, leading to fatigue and a need for don Juan’s aid. Don Juan proposes “stalking the stalkers” as the final task of the **third gate of dreaming**, which involves deliberately drawing energy from the **inorganic beings’ realm** to perform a sorcery feat: a journey using awareness as an energetic element. Carol Tiggs joins Castaneda for this dangerous endeavor. Their attempt results in an unexpected, terrifying abduction of their physical bodies into an unknown world by the inorganic beings, a trap previously set for ancient sorcerers. Don Juan explains that their combined energy, though substantial, wasn’t the primary factor in their journey; the inorganic beings’ manipulation was. He warns them that their unique situation makes them targets and advises them to avoid each other to prevent future abductions. Castaneda’s dreaming practices are then re-focused on **seeing energy** in various states.

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The Tenant – The Art of Dreaming

In this chapter, don Juan Matus informs Carlos Castaneda that his formal instruction in dreaming is over, but he must outline the fourth gate of dreaming. He takes Castaneda to a town in southern Mexico for a final lesson, which is to be delivered by a mysterious visitor. This visitor is revealed to be the “tenant,” an ancient sorcerer also known as the death defier. Castaneda is overcome with panic and revulsion when he discovers the tenant, who he had previously met as a man, is now a woman. Don Juan explains that for such a powerful sorcerer, gender is a matter of choice, achieved by shifting the assemblage point. Castaneda must now face the tenant alone to make a decision about accepting or rejecting the tenant’s “gifts of power,” a choice that every nagual in their lineage has had to make.

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Journal of Applied Hermeneutics – Queries about the Warriors’ Way: What is the point of doing all those Practices?

In this section, Castaneda addresses two common questions. The first concerns when a practitioner will achieve “seeing,” the direct perception of energy. He explains that while practices are important, the crucial element is to “intend” the outcome—the state sorcerers call “stopping the world,” which is achieved by obliterating self-importance. The second question is about fear over strange physical sensations during Tensegrity. Castaneda recounts how don Juan Matus explained such feelings not as external manipulation, but as natural physiological responses or a product of one’s own victim mentality. Don Juan’s advice was to counter fear by being “impeccable”.

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The Shift Below – The Fire from Within

Continuing his lessons on the assemblage point, Don Juan explains to Castaneda that its movement beyond a certain limit can assemble entirely different worlds. He reveals that the Sonoran desert aids a “shift below” to the place of the beast, and introduces la Catalina as a powerful sorceress deeply connected to this type of shift. Castaneda recounts his chilling encounters with her, learning they were orchestrated to move his assemblage point. The trio’s dynamic, including Genaro’s humorous antics and the shared laughter, underscore the importance of inner silence and stopping the internal dialogue for freeing the assemblage point, a fixation taught since infancy. Don Juan cautions against the “high adventure of the unknown,” a dangerous pursuit favored by old seers like nagual Julian and la Catalina, who were waylaid by the allure of power and animal transformations (“shifts below”). Castaneda himself experiences a profound “shift below” during an encounter with la Catalina, perceiving her (and himself) as a grotesque creature and entering a non-human state of boundless awareness and joy. This experience, while deeply unsettling, proves to Don Juan that Castaneda has no inclination for such aberrant shifts, unlike the old seers. The chapter concludes with Don Juan explaining “skimming,” a unique human capacity to refine perception, a magical act that, if not controlled, can be a profound pitfall.

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Journal of Applied Hermeneutics – What is Intentionality?

Castaneda begins with a note on his use of language before exploring “intentionality,” seeking to move beyond standard philosophy. He traces the term from the medieval Scholastics to the 19th-century philosopher Franz Brentano, who defined it as the unique characteristic of mental phenomena to be directed toward an object. Castaneda then connects this to the sorcery concept of “calling intent”. From a sorcerer’s perspective, he explains, intent is not a mental product but a tangible, energetic force that exists outside the physical body and can be engaged with.

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Journal of Applied Hermeneutics – Queries about the Warriors’ Way: When am I going to see? Are you doing something to me?

In this section, Castaneda addresses two common questions. The first concerns when a practitioner will achieve “seeing,” the direct perception of energy. He explains that while practices are important, the crucial element is to “intend” the outcome—the state sorcerers call “stopping the world,” which is achieved by obliterating self-importance. The second question is about fear over strange physical sensations during Tensegrity. Castaneda recounts how don Juan Matus explained such feelings not as external manipulation, but as natural physiological responses or a product of one’s own victim mentality. Don Juan’s advice was to counter fear by being “impeccable”.

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Journal of Applied Hermeneutics – The Second Principle of the Warrior’s Way: We Are What Our Inception Is

Castaneda presents the second premise of the warriors’ way: “We Are What Our Inception Is”. He relays don Juan Matus’s difficult teaching that one’s energetic makeup is profoundly shaped by the conditions of one’s conception. Don Juan used the term “bored fuck” (B.F.) for those conceived without genuine parental excitement, who are consequently energetically weak and needy. Don Juan’s practical advice for a B.F. was to become a “miser of energy” through abstinence from draining behaviors. The ultimate goal, he explained, is to remake oneself by “intending the inconceivable,” using any available emotional or sensational spark as fuel for transformation.

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Journal of Applied Hermeneutics – Readers of Infinity

In this author’s note, Castaneda reaffirms the journal’s goal: to disseminate the ideas from don Juan Matus’s cognitive world. He recounts his early, unsuccessful attempts to publish the work, which was rejected for not fitting conventional formats. He then announces a significant change: the journal’s name is changed from “The Warriors’ Way” to “READERS OF INFINITY”. This new title is inspired by don Juan’s concept of “reading infinity,” a state of perception achieved through “inner silence” where a seer can read the infinity that reveals itself on the horizon. The journal is presented as an invitation for everyone to take up this challenge.

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Journal of Applied Hermeneutics – What is Phenomenology?

Castaneda explores the philosophical method of Phenomenology, as developed by Edmund Husserl. He explains its core concepts, particularly the “epoché” or the “suspension of judgment,” a reduction intended to get back to the origin of experience. However, Castaneda argues from his experience with don Juan Matus that this suspension of judgment is impossible to achieve as a purely intellectual exercise. For sorcerers, suspending their interpretation system is not a philosophical choice but a practical necessity for survival required to perceive the unknown. He therefore proposes to correlate the intellectual propositions of Western philosophy with the pragmatic accomplishments of sorcerers.

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