Creative Divination

(Using Dice)
Robert H Schulz

Contents

PAGE

Contents Preamble Divination: an introduction Warning Equipment Procedure Sections introduction: Haiku Aphorisms Commands Random Selection Focus

1 2 3 3 4 5 5 5 5 5 6 6

Finale Instructions: 1. 2. 3. 4. 5. Haiku Aphorisms Commands Random Selection Focus

7 10 12 14 15 17 18 19 20-21 22 23 24 25

Chart of characteristics of numbers The hidden attributes of numbers Bibliography Templates Example divination Example mind map Commentary Afterword

Preamble

This book started life as a humorous spoof on divination. The methodology was always accurate but the text was littered with jokes and surreal elements. Slowly the surreal side has been extracted and the serious has been emphasised. In some way this was not my choice. The book itself seemed to demand it. (See page 24). Perhaps the other, unwritten book, will see the light of day sometime in the future? What you are about to use is a particular method of consulting an oracle. Within divination systems there is a spectrum of approaches for obtaining answers to questions. All systems use chance elements to start off the proceedings, followed by the variable use of intuition to come to a conclusion. One extreme is the manipulation of numbers in various ways to generate very specific answers. At the other extreme is the use of ambiguous or archaic text or images to encourage answers from the unconscious. You could crudely label these two extremes as the mathematical or the poetic.* In practice, all divination methods are a combination of these two approaches to varying degrees. Creative Divination emphasises the poetic approach. After many years of using various divination systems, as well as meditation, autohypnosis and psychotherapy, Ive come to the conclusion that the unconscious is an immensely wise and under-utilised resource. Therefore the best approach in divination is to give it as much freedom to express itself as possible. However, there are drawbacks to my methodology. It may take much longer to arrive at an answer to your specific question. Also the unconscious can only speak in symbols, so you have to acquaint yourself with its language, the same as in dream interpretation. Generally, it is rare for the unconscious to be concerned with specifics, such as yes or no, dates or certainties. Finally, it does not necessarily agree with what your ego thinks is important. On the other hand, this method gives plenty of scope to the unconscious to provide a fitting answer. Other divinatory systems can answer with detailed specifics, even dates, times and compass directions. And such answers are quickly obtained without too much mental or emotional struggle. There is always a need for some final interpretation to hone the answer, but to a lesser extent. All I can advise is that, If the cap fits, wear it. There are other caps around so find one that suits you. If you wish to consult less esoteric oracles using dice, further information is provided at the end of the book. This list is only to indicate what is available and is not comprehensive. Much of the material is excellent but I have deliberately avoided indicating preferences, as people are inevitably attracted to different systems of divination. As ever the choice is yours.

* An example of the mathematical approach is Steven Wagenheims Diceology. His readings use a number of dice and involve several mathematical manipulations to arrive at very detailed answers. www.diceology.com * The poetic approach can be found in Andreas Gerolemous The Apprentice Guide. Based on African bone throwing rather than dice, it nevertheless exemplifies a very poetic approach. www.issuu.com/umeme/docs/apprenticeguide

Divination: an introduction.

There are many books and websites which explore the history, variety and theories of divination. It is not my aim here to repeat this information which is so readily available and so comprehensively articulated. In the context of Creative Divination, there are only two elements I wish to consider, the die, (singular of dice), and the unconscious. Your unconscious is a vast storehouse of symbols, images, ideas and creativity. Whether it is also a gateway to elsewhere is an important question but beyond the scope of this book. People usually have a positive experience of their unconscious through art, poetry, music, dreams, creativity and intuitions. However the unconscious is constantly constrained by the rational mind, (your ego), as we live in an obsessively logical and rational culture. Thus we miss out on the wealth of creativity and wisdom that the unconscious has to offer. In divination, the rational mind is side-stepped by the use of dice to generate random numbers which are then used to select ideas and images. Because there is no logic in the selection, the unconscious mind is allowed to use the chosen ideas and images to speak to you, albeit in a symbolic, poetic way. If the conscious mind remains relaxed and disengaged, the unconscious will connect the symbolic images and ideas into a narrative, which the conscious mind will eventually be able to accept and understand. In other words:

You throw the dice. You receive a text / image. You contemplate the text / image. You begin to comprehend what it means to YOU.

Any divination reading should resonate with you, giving you a feeling that youre making sense of the information. Perhaps you may experience a mild or even major Eureka!! experience similar to solving a Zen koan or paradox. As you start Creative Divination there are two things to bear in mind: The proof of the pudding is in the eating, and Practice makes perfect. So if it doesnt seem to work this time, leave it alone and have another go later. Oh yes, about the die. You need a ten sided one, called a pentagonal trapezohedron to be precise, numbered 1 to 10, rather than 0 to 9. (Or you could use a 0 to 9 by treating the blank face as a ten). You should choose which ever colour you feel most comfortable with. Matching the colour of your eyes is a neat idea.

WARNING The author of this document can accept no responsibility for any outcomes resulting from the use or misuse of the text. He will however be willing to partake of any financial rewards which may accrue from its use.

Equipment required to conduct a divination.

Quiet undisturbed place to conduct your divination This book Ten side die ( known as a D10) Pen/pencil/biro/felt pen or other writing implement A right or left hand to write with Paper or photocopy of the template from this book Your conscious mind Your unconscious mind A thesaurus is recommended. It can help enhance the meaning of words.

Procedure
If you look at the template you will see five boxes numbered 1 to 5. These represent the individual sections. Each has a blank box next to it to record your dice throw, and a space to record your comments, reactions and observations. You need not use the template if you prefer to write on a blank sheet of paper. Creative Divination is primarily structured for personal insight and development. For a comprehensive divination all sections would need to be completed. It does take some time when you want to facilitate unconscious creativity. By omitting one or more of the sections you can obtain a quicker but less accurate reading. If you are divining for another person, certain meditative sections may have to be omitted or adjusted to suit the circumstances. Each section should be treated as a separate assignment and completed on an individual basis, with no regard to what information has already been recorded for any previous throw. It might be useful to cover over any notes youve made for other sections. You should not be too concerned when completing the individual sections about what it all means, or try to make connections or comparisons. This process of integrating all the information comes at the final stage. Each section should be fully completed before turning to the next. They do not need to be completed in a set sequence nor at the same time. You can take a break or leave the rest of the divination for another time, if you wish. However a divination will be more focussed if completed all in one go. Please note that some sections offer different answers depending on the date or days. You should only consult the appropriate text.

Start by writing your question at the top of the page and then proceed as directed.

Sections
1. Haiku. These are short verses following a traditional form of Japanese poetry.

They should be mulled over until a response emerges from within. The best way is to sit back, close your eyes and put yourself into the situation described. Exploring the imaginary scene will give rise to feelings, ideas and thoughts. These should be recorded on the template or in your notes. 2. Aphorisms. This is the largest section. Use has been made of well-know English sayings, proverbs and folk wisdom. They have been doctored or re-structured to provide a new slant on the original. The juxtaposition of disparate items is a common method to provoke creativity. Whilst reading them, your mind will be both engaged in making sense of the written words as well as being drawn to remember the original saying. Once again the text should be contemplated until it produces a feeling or thought, which should then be recorded. 3. Commands. These are similar to the Aphorisms although structured differently. One word in the text is highlighted. At first meditate on the whole text and not just the key word. Write down any feelings, words or thoughts that occur to you. In some cases it will be just the highlighted word, but that isnt a problem and doesnt mean that youve somehow failed or missed the point. 4. Random Selection This is a modification of an old method of divination practiced around the world. Essentially the process involves overhearing words or randomly selecting words from a text. Whatever words you hear or read, jot them down but restrict the choice to only three. The ones which you found significant, interesting or meaningful in any way.

5. Focus

The single words represent a direction in which to focus the mind. Like the hub of a wheel from which all the spokes radiate, the word will become the centre around which youre other thoughts and feelings revolve. Allow the selected word to stir up your mind and create ripples. Once the mind has calmed sufficiently, choose one of the words or thoughts that have been stirred up to write in your notes. It may be that the focal word itself encapsulates your feelings and thoughts.

Finale
You have cast the die several times, meditated and mulled over each section and written down your thoughts and feelings. Now comes the time to make sense of it all. To put all your recorded feelings and thoughts together, mix them up and let them make links and connections. Dont forget to put the focal word at the centre of your interpretation, with the other words and ideas circulation round this central core. One way to do this is to construct a mind-map*. On a blank sheet of paper, put the question at the top and the focal word(s) in the centre. Then write all the words and notes youve recorded round about it. By itself this may generate more ideas which you can add to the page! (See page 23 for example). The connections may or may not be obvious at first. Dont fret or become angry or frustrated. Your unconscious has provided the information in the first place and in due course will show you the connections, and allow you to see the meaning underlying what initially seems chaotic. Much like contemplating a Zen koan or grappling with a riddle, the solution depends on quieting the conscious mind and letting your amazing creative unconscious do the work. When the conscious mind is quiet, relaxed or bypassed, the creative mind has a chance to surface. The answers may take time to come, especially if youre not used to letting go. Meditation can help, as can a long walk with or without the dog. In fact any activity which doesnt need your calculating egomind will give your unconscious a chance to configure an answer which your conscious can later understand. Once you have your answer, you will certainly need to engage your conscious mind to make any decisions and plans. So relax in the knowledge that you can access your storehouse of wisdom. You may have notice that I havent mentioned anything about the question you wrote at the top of the paper right at the beginning. Thats because the question may or may not be the one you really wanted to ask. You could have omitted the question, on the grounds that you werent really sure what you wanted to ask. Have no fear. You unconscious knows exactly what you need to know and the issues you need to address at this point in time. After all its your constant companion, is it not? So your original question may or may not be relevant when you come to decipher your answer. Only you will know. * See The Mind Map Book by Tony Buzan 1996

1. Haiku.
Select your entry according to the throw of the die. Within each entry, choose the appropriate text according to the following matrix: A = even days B = odd days Read the short poetic text and let the imagery sink in. You may close your eyes to help the process. After a while you will find images and words arising in your own mind. Choose those that seem significant or memorable to write down in your notes.

1:1
a: midnight kitchen party over dripping tap eyes open kitchen sounds Im awake

b:

1:2 a: early December broken washing machine why now strident clock surging blood headache

b:

1:3 a: reading diaries formative youth where is he now my cat eating his biscuits listening for sparrows

b:

1:4 a: coffee in a tea cup adventurous

b:

she said I was impressive and gave her a headache

1:5 a: half asleep noisy visitor buzzing gnat back door open cats in and out hidden agendas

b:

1:6 a: summer rain the patio a drowning worm naked tree single apple waiting

b:

1:7 a: seeing the words appear as if by magic writing I shop therefore I am an old clich just so

b:

1:8 a: orange cat orange carpet safe from eagles I was tired wanted to sleep but wrote this

b:

1:9 a: mobile with flat battery the sound of silence fanciful ideas toyed with then forgotten

b:

1:10 a: hot June cooler in than out beached on the sofa scissors and bottle-opener rocking on their hooks memories

b:

2. Aphorisms
Select your entry according to the throw of the die. Within each entry, choose the appropriate text according to the following matrix: A = even days B = odd days C = the weekends 2:1 a: too many rooks spoil the brothel b: sage before putty c: the rot calling the kettle slack 2:2 a: a fiend in need is a bed indeed b: theres many a blip betwixt cup and lap c: alls well that ends smell 2:3 a: every log will have its pay b: every cloud has a liver rhyming c: to jump from the flying fan into the mire 2:4 a: as alike as two bees in a cod b: an apple a day keeps the damp at bay c: pictures in glass houses shouldnt show bones 2:5 a: to have your rake and greet it b: choose company, threes a cloud c: many cans make night wok

10

2:6 a: a witched kettle never spoils b: to stalk off a short pear c: he who lifts last, lifts longest 2:7 a: eat, drink and be marigold b: look write, book left, like write again c: keep all the falls in the chair 2:8 a: a mirage made of leaven b: raining mats and cogs c: fare exchange is not snobbery 2:9 a: sever teeth to catch a leaf b: if you cant bait them, make them c: a mans hum is his tassel 2:10 a: happiness is a worn pun b: clock and the floor will be opened c: honey is the route for the bole weevil

11

3.

Commands

12

Select your entry according to the throw of the die. Within each entry, choose the appropriate text according to the following matrix: A = even days B = odd days C = the weekends Ruminate on the whole text and not just the key word. Try not to associate the text with other texts that seem similar in any way. When youre ready, write down any words, feelings or thoughts that occur to you, even including the key word. The key word on its own may be the only word that you feel you want to write down. 3:1 a: Making a pain check b: Upset the maple chart c: Fight fire with ire. 3:2 a: Remember to forget b: Chalk before you run c: Go vest young man 3:3 a: Stop and blink b: Spare the cod, boil the child c: Time waits for no spam 3:4 a: Blink before you speak b: Learn the lard way c: Go forth and amplify 3:5 a: Meet about the bush b: Without beating an eyelash c: In the think

3:6 a: Left in the perch b: Molly cuddle c: Rest - egg 3:7 a: Dig in a poke b: Let the mat out of the bag c: Kick into shop 3:8 a: Grasp the rattle b: Chop hop c: Blend new 3:9 a: Beat about the brush b: Nine daze wonder c: Shop shape and crystal fission 3:10 a: Grasp the petal b: Play frost and goose c: Bring to cook

13

4. Random selection

14

Depending on the throw of the die, use the selected method to capture a phrase or sentence or even just a couple of words. Once you have the words, choose those which you find particularly significant, interesting or unusual but no more than three. Write them on your sheet. 4:1 4:2 4:3 4:4 4:5 4:6 4:7 4:8 4:9 4:10 Words from the TV. Words from the radio. Words randomly selected by sticking your finger in a newspaper. Words randomly found by sticking your finger in a book Words randomly found by sticking your finger in Yellow Pages or a magazine. Words heard when out walking. Words from a letter or parcel. Words from a random track on a CD, preferably not one of your favourites. Words overheard when children are speaking. Words spoken when you ask someone to, Just say anything.

Section 5: Focus.
Select your entry according to the throw of the die as shown in the left hand column. Within each entry, choose the appropriate word according to the following matrix: A = even days B = odd days C = the weekends Write the word and/or any strong associations it generates in your notes.

15

5:1 a: straight b: inside c: unearth 5:2 a: oblique b: context c: resist 5:3 a: message b: continue c: give 5:4 a: discover b: passage c: task 5:5 a: paradox b: know c: move

5:6 a: find b: stop c: return 5:7 a: again b: rhythm c: turn around 5:8 a: catch b: rise c: release 5:9 a: energy b: others c: revise 5:10 a: wait b: decision c: change

16

17

In cases of divination where numbers become a prominent feature, the following chart may be helpful.

Chart of Characteristics of Numbers

1 2 3 4 5 6 7 8 9

unity, creation, independence duality, emergence power, generative force solidity, dullness sensuality, pleasure perfection, harmony, balance mysticism, psychic, magic material, success, justice spiritual, mental achievement

18

The Hidden Attributes of Numbers.

1.

Associated with achievement, success and overcoming obstacles. As in: Ive one the prize and youve lost.

2.

Associated with friendship, sociability and travel. As in: Were off on holiday. Do you want to come two?

3.

Associated with financial gain, generosity and gifts. As in: It doesnt cost anything as its three.

4.

Associated with puzzlement, confusion and anger. As in: What did you do that four?

5.

Associated with doubts, turmoil and inner uncertainty. As in: I wonder if five done it properly?

6.

Associated with trust, intimacy and openness. As in: Darling, do you fancy six tonight?

7.

Associated with happiness, joy and wonder. As in: He loved it. He was in his seven

8.

Associated with abundance, crops and harvesting. As in: He eight all that fruit

9.

Associated with going abroad, strangers and misunderstandings. As in: I asked if he wanted some and he said Nine?

Bibliography.
Books on divination in general: The Illustrated Encyclopedia of Divination Stephen Karcher. Element 1997. The World Atlas of Divination John Matthews. BCA 1992 The Book of Ordinary Oracles Lon Milo DuQuette. Weiser Books

19

2005

Books specifically concerning divination with dice: Fortune-Telling by Dice David and Julia Line. Parragon 1984 2002 1988

Predicting the Future with Dice Sara Zed. Astrolog Publishing House Decision Dice Richard Craze. The Book of Synchronicity Oberto Airaudi.

Connections Book Publishing North Atlantic Books 2007

Mo Tibetan Divination System Jamgon Mipham / Jay Goldberg Astrodice

Snow Lion Publications

1990

The Wessex Astrologer Ltd. www.wessexastrologer.com Rune Dice Donald Tyson. Web Sites:

Llewellyn Publications

1997

www.divinitydice.com You have to purchase the e-books but there are some interesting power point presentations and free explanatory downloads. www.diceology.com You have to purchase the e-books but there are informative and free downloads.

Other: There is plenty of good material on the web if you just search. But avoid sites offering free readings as they rarely provide any useful information.

20

Creative Divination
Question:

Date:

21

Creative Divination
Question:

Date:

Example of divination sheet Creative Divination

Question: What's the purpose of the book?

22

F A N C IF U L S O : F O

im

p ra c t ic a l/ im u n re a lis t c

a t u re . p la n s

T O a n d

Y E D b e

IT H

n o t s e r io u s

R G E T

t h e

s e rio u s

S T A L K S H O R T

w a t c h / lo o k / s e a rc h . P IE R = n o t o v e r d e e p

P IE R

re s o n a t e s + n o t t h e

o re d e e p

t h a n

p e a r.

w a t e rm

u n c o n s c io u s

S P A R E B O S O IL : = t o

d o n 't

u s e .

C O

= =

it e n

fr o m

o u t

o f t h e life /

w a t e r.

e le m

e n t

fr o m

t h e

u n c o n s c

h a rm r e je c t

/ a b u s e . e le m life

C H IL D fr o m

y o u t h / n e w

s t a rt w ill d a m a g e / h a rm t h e

e n t s

t h e

u n c o n s c io u s

b e g in n in g

/ n e w

S P E R M S T A R S =

life / c r e a t iv it y . u n iv e rs e / c o s m IN B L A C K & W

a ic

fe r m

e n t

o f a c t iv it y .

c o n n e c t io n H IT E = c le a r d e c is iv e .

P IC T U R E

K N O S O :

W M

= o re

c o m

p re h e n d / u n d e rs t a n d / h a v e b e lie f. C e r t a in t y !

in fo / k n o w le d g e

t h a n

Much of the actual hand-written text has been edited for the sake of clarity.

23

24

Commentary.
Both the template and mind map are tidied up and simplified copies of the originals. Illegible writing and extraneous material needed to be removed for the sake of clarity. The mind map represents items selected from the template on page 23. The items in black are more or less straight transfers from the sheet, whilst the items in red represent additional thoughts and connections arising from studying the map. These examples show the logical progression from ideas and images recorded in the sections to connections and insights resulting from completing the mind map. In light of the original question, What is the purpose of the book?, I offer the following interpretation. As with any interpretation, it includes personal information outside of the divination itself. Just as when divining for a client, the interpretation is tailored to fit their personality and situation. Interpretation Writing the book was a personal search for unshakeable certainty. A need for verification of ideas I believed but didnt always have first-hand experience of. Initially there was an intention to treat the whole book as something light-hearted, but the unconscious made itself very evident. The truth of the unconscious and its connection to a wider frame of reference has been made very clear. The book itself is part of the process of discovering the truth, both for me and any others who become involved. I was satisfied with my interpretation, but a few days later I had the Eureka experience. My unconscious wanted to put me right! The answer to the question; What is the purpose of the book?, was staring me in the face on the mind map. Truth! Truth derived from the easily accessible layers of the unconscious. Truth in terms of facts and certainties. Truth that is applicable on a universal scale, because it emanates from the unconscious in the process of creativity. In short, the book is true and tells the truth.

25

Afterword
Most of the materials used in this book came from items I had wrote or recorded over the years. There is nothing inherently magical or mystical about them, apart from the fact that they are products of unconscious processes. I could have collected interesting pictures, short poems, various graffiti and witticisms to use in the book. But that would have taken a lot more time. Using alternative material will make no difference to the answers received to a question. The unconscious uses whatever symbols and ideas are available to communicate with the conscious mind. The more ambiguous and rich the symbols, the more the unconscious is able to construct a fitting response. Consequently the current material can be replaced by other poems, writings, drawings and pictures. E.g. Postcards from art museums are a good source of images, as well as various magazines. You could replace texts with selected Tarot and Psy cards. Your local library will have plenty of books on poetry, catchphrases, aphorisms, proverbs and the like. You may come across suitable texts when reading magazines and newspapers. You are only limited by your imagination! You should feel free to develop the oracle to suit your own preferences. The only proviso is that the new material should be full of symbolism and potential meanings. As long as the unconscious has access to varied images, it will be able to speak to you.