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Book Introduction to Modern Magic. Afterword.

Table of Contents

In conclusion, we would like to tell our readers that the views on modern magic stated in the book do not claim to be the final truth. Therefore, if during reading there was a statement that causes doubt, do not judge us strictly. For magic we are all only pupils, so we have the right to personal mistakes.

When reading the book, you may have legitimate questions: Why are some chapters in a scientific monograph perceived as popular literature? Are there no elements of fiction in the book? Let us try to answer such questions.

Elements of fiction inevitably appear when describing magical experiments. This effect is explained by various factors, some of which we have already mentioned in the preface when characterising the role and place of magic in the system of human knowledge. In magic the external world and the inner experience of man are inseparable. When learning magic, first of all, a person's consciousness changes, that is why it is so important to trace the dynamics of changes in the structure of consciousness, especially when one and the same person is the experimenter and the object of the experiment. These circumstances dictated the art-documentary form of description of magical experiments.

When describing the way of learning magic, we tried, on the one hand, not to forget any details, on the other hand, not to embellish or add anything. In doing so, we looked back on the psychological rule of the "13th stroke", according to which the 13th stroke of the clock is not only doubtful in itself, but also casts doubt on the truth of all previous strokes. Applied to our book, the rule of the "13th beat" means the danger that a reader who encounters a description of an experiment that seems fantastic to him will not take seriously not only the experiment in question, but also all previous experiments whose reality he might accept. For the consciousness of such readers, the close to artistic form of presentation of magical experiments leaves an opportunity to avoid an untimely fracture of the worldview and psychological structure.

Magic guards its own secrets (from the message of the Infinity Teacher to Tyrone), so one can not be afraid that the magical knowledge in this book can be used for harm. The Teacher of Infinity in his message to Tyrone considers that the magical knowledge revealed in our book does not break the world harmony. And real keys to magical knowledge in the book are not given and can not be given, because magical knowledge can not be detached from its carrier, real magic is transmitted only from teacher to student.

How then to satisfy the arising desire to try at least the simplest magical actions by oneself? When moving to a practical introduction to magic, a number of difficult questions arise. Who needs practical knowledge of magic? To whom can they be given? How to take into account the dynamics of magic formulas?

It is possible that in our next books some keys for independent safe magical actions will be given. Another variant: to publish a book with a numbered circulation, including real magical knowledge, but to sell such a book not on the market, but after personal acquaintance and permission of the Teachers.