Chaos has a poor reputation.
The word itself, much like the terms witch or necromancer, carries a lot of cultural baggage. War, insurgency, natural disaster, economic upheaval, we regularly see the mass media describe those highly damaging cultural states as chaotic.
This is unfortunate but understandable, as the term existed long before the movement which sought a free-form identity in the face of stale Old Aeon magick co-opted its use.
But far from being a destructive occult force, this chaos is instead viewed from the inside as the nothing that can be formed into anything, a primordial clay bent to the skilled magickian's will.
Borrowing heavily from découpé, a technique for forming new texts out of old that was popularised by the Dadaists, Tha Kayozz Evokkation is designed to allow a practitioner the opportunity to swim through that swirling cauldron of random creation, albeit with very unpredictable results.
Unlike more structured paths, chaos magick grants the practitioner a free pass to relegate the various tools and incantations that others would consider the backbone of their practice to mere props invested with meaning when the need arises.
This fluidity of thought has led to many an intriguing juxtaposition of the seemingly sacred and the unashamedly profane during ritual, though up to now such excess was mostly confined to pop culture figures serving as convenient alternatives for gods and devils who were otherwise unreachable.
Those unfamiliar with the Dadaists and their anti-artistic revolution during the first quarter of the 20th century may not realise just how important the movement would be to the modernist and postmodernist groups that followed, including chaos magick itself.
Découpé too would get a second lease on life through projects which utilised the cut-up technique as popularised by William S. Burroughs in the 1950s, and it is here that Tha Kayozz Evokkation finds its core methodology.
All that is required to create the basic structure of the rite is a stack of occult books, glue, some scissors and access to either a printer or photocopier.
A handful of audio files are also needed for the actual body of the evocation itself. These are not required to be related to either magick or the purpose of the operation, though spoken word is preferred.
Physical or digital texts will work equally well, though whichever method is chosen paper copies of the existing rituals within those pages will need to be made.
These are then cut into single sentence strips, shuffled together and placed in a pile.
The first phase of Tha Kayozz Evokkation requires the magickian to achieve a semi-lucid trance state by loudly playing as many audio files at the same time as they have devices to do so.
When they finally find it impossible to keep track of what is being said, the words becoming an unintelligible mess, the chaote dips into the pile of paper shards, retrieving a single sentence at a time.
These are then arranged in that order upon another page until at least one good sized sheet is full.
If the chaote regains lucidity during this first stage, they should stop adding to this page, and instead return their concentration to the audio, awaiting the overwhelm induced gnosis that comes from trying to process too much stimuli at any given time.
It is impossible to fail here, as the state only needs to be maintained during the actual picking process and can be resumed as many times as required as long as no deliberate break is taken in between.
The second half of the ritual involves performing the ersatz evocation that the chaote has worked to create as soon as the prep work is finished.
The paragraph structure will be strange, the godforms and spirits named in the same breath usually diametrically opposed in polarity.
Tools and artefacts will be mentioned that the practitioner did not prepare ahead of time. This is normal, and there is no need to seek those items out.
Only the words themselves matter now, as the magickian taps into the same current that underpinned the bardic traditions of old and speaks their truth onto the wind.
Sometimes the resulting text will be downright blasphemous, but creation is never quiet, and neither should the magickian be either.
Instead, they should stridently shout the cut up prose they have made from the rituals of others, competing with the still looping audio and adding their own words to the air as reality itself bends under the weight of language crystallising around them.
Again and again they should repeat it, their voice becoming hoarse and vocalisations more shrill until it becomes impossible to continue.
Eventual collapse from exhaustion is inevitable and signals the end of the ritual.
The evocation is then over, and the audio files are turned off while the chaote recovers. It is recommended to not banish with laughter, but silence and a cold drink as the latter stages of the process can be extremely demanding.
When normal consciousness is finally regained, the magickian should look at the text they created and see if there are any obvious patterns or requests that were made during the ritual, as these will likely be reflected within the practitioner's life over the next few weeks.
The Dadaists held nothing within art to be sacred and instead broke convention to create scathing social commentary from the bleeding edge shards of established order.
That is what Tha Kayozz Evokkation sets out to do, and when completed correctly, it not only serves to demonstrate the boundless possibilities within the chaos current but also raise unverified personal gnosis to a whole different level.
Done a few times, it can also cleanse the magckian's mind of any remaining reverence for the rituals of yesteryear.
Because when those supposedly sacred words are cut up, glued down, shouted into the void and still generate change, it becomes painfully obvious that the actual power was within the magickian all along.