by Fenwick Rysen
Fotamecus is a historically recent addition to the pantheon of deities associated with time, the other major one of note being Chronos. But whereas Chronos is associated with the concept of time as fixed and immutable, Fotamecus depends on the concept that time is fluid and malleable. It is because of Chronos' restrictions of freedom through the concepts of fixed time that Fotamecus has decided to wage war on him; the following ritual is aimed at aiding Fotamecus in the war against Chronos, and in gaining his favor through helping him. Because modern societies are completely dependent upon clock and currency (time is money), aiding Fotamecus in destroying current conceptions of time can be considered one further step in the immanentization of the eschaton.
• A drum
• A small digital clock (a dot clock for a car dashboard or a small child's watch is cheap and effective)
• A roll of toy caps (or other material that explodes when hit). DO NOT use blasting caps, or caps for rifles/shotguns/etc - The idea is to create a small "BANG", not to take your hand off!
• A rock, heavy enough to smash a small digital clock and roll of toy caps.
• Three people: Drummer, Chronomancer, and Warrior.
• Observers (optional), as many as want to watch this rite.
- 16. The participants enter a dark place clad however they see fit. No one should be wearing a timepiece, nor should one be present in the working space. The Drummer should be carrying the drum, the Chronomancer the small digital clock, and the Warrior the roll of caps and rock.
- 15. The Drummer, Chronomancer, and Warrior face each other in a triangle, and plant their feet firmly at shoulder width. Any other participants form a circle around them, observing this ritual.
- 14. The Chronomancer looks to the Drummer, a question on his face, mentally asking if the Drummer is resolved to perform this rite. The Drummer nods, and raises the drum to a ready position.
- 13. The Chronomancer looks to the Warrior, a question on his face, mentally asking if the Warrior is resolved to perform this rite. The Warrior nods, and presents the rock and roll of caps in his weapon hand.
- 12. Resolution affirmed, the Chronomancer presents the clock to the Drummer, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite. The Chronomancer then presents the clock to the Warrior, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite.
- 11. The Chronomancer raises the clock to the sky, presenting it to Fotamecus. All participants look up, summoning Fotamecus with their thoughts, asking him to come and see the sacrifice that is being made to further his was against Chronos. Observers should now visualize the Fotamecus sigil, and keep it somewhere in their minds for the duration of the rite.
- 10. Whether Fotamecus presents himself or not, the Chronomancer then cups the clock between both hands, and the Drummer begins to beat the drum slowly and steadily (60-80 beats per minute). Here is symbolized a return to natural rhythms--- the beat of the drum reveals itself once the clock has been hidden from sight. All participants should contemplate this for a few moments.
- 9. Clock still hidden between cupped hands, the Chronomancer lowers his head and closes his eyes. The Chronomancer then focuses on his conceptions of time. The beat of the drum, he notices, is the same rhythm as that of his heart, that of the turning of days, that of the wheel of the seasons... a steady measurable beat, yet a beat that can change at any time. This is opposed to the machine trapped within his hands, a cold, calculating piece of machinery that measures off time as if it were a commodity with fixed value, a value determined, in fact, by the "dollars for hours" mentality of those trapped by this conception of time. The Chronomancer is overcome with disgust for this conception of time, this linear, immutable, mind-numbing procession of numbers that only mean something because everyone agrees to the same hallucination of time as a fixed phenomenon. How can this be? The drumbeat may alter its speed, and is measured only by beat-pause, beat-pause... There are no numbers to the beating of your heart or the turning of the days or the wheel of the years--- they are infinite, and forever differing, the space between them a matter of perception.
- 8. All other participants are encouraged to be thinking similar thoughts, focusing their disgust for a concept of fixed time upon the clock in the Chronomancer's hands. The Warrior, in addition to contemplating his disgust for fixed time, also feels this disgust rising as the desire to destroy fixed time. Yet as the perfect Warrior, he realizes that he must wait--- the time, he realizes, is not right... And he will not know how long he must wait; it cannot be measured in seconds or minutes or hours, only in patience. And once this clock is destroyed, there will be others--- events are not bound by time, time is bound by events both done and yet to be done. He will wait for the right moment to destroy this clock, knowing that even after this act is done, there will be other clocks to destroy. This Warrior's task is never completed.
- 7. The Drummer, after a suitable amount of time has passed (up to the Drummer's judgement), slowly begins to raise the pace of the drum. This helps to emphasize that time is mutable, and to encourage others to act--- time never runs out, but it does pass you by.
- 6. The Chronomancer, filled with his disgust for the object in his hands and hearing the increasing drumbeat, realizes that something must be done. He could cast the disgusting clock away, but that would solve nothing beyond a temporary relief. He could destroy the clock himself, but he has no weapon and is not trained in their use. Instead, surveying those around him, his eyes meet those of the Warrior, and both of them realize that the time has come--- The Chronomancer is in need of a means of destruction, and the Warrior is ready and willing to destroy.
- 5. The Chronomancer opens his fist and reveals the clock to the Warrior - The Drummer raises the pace of the drum quickly (140-210bpm, depending on taste/preference/situation), reflecting his inner state. The Drummer's heart races at the sight of the clock. This device is the death of him--- long ago the way of the drum was abandoned for the way of the clock. The people left the ways of Fotamecus and adopted the delusions Chronos offered them. As long as this clock exists, the safety of the way of the drum cannot be ensured. Still, the Drummer stands and beats his drum, for the ways of Fotamecus are needed now more than ever.
- 4. There is a request in the Chronomancer's eyes, one that the Warrior understands. The Warrior presents his rock, and the Chronomancer smiles, holding the clock out to him. The Warrior takes the clock, and the Chronomancer returns to a steady posture, proud, knowing that the right thing has been done.
- 3. The Warrior does not smile--- celebration now would be premature. His patience has been rewarded, and he has been given the opportunity for action, but the action has not yet been taken. He prepares for action by thoroughly examining his enemy. He takes in the clock in its every detail, coming to know it better than it knows itself. He begins to see its weaknesses, and contemplates them--- This machine requires such precision that the slightest impact will destroy it. Its grip on reality is a tenuous one at best. But though it may appear weak, the Warrior realizes that it is the power of the thinking behind this device that must be destroyed. Let the destruction of this clock act as inspiration to others to destroy their timepieces. And let the power of its destruction feed Fotamecus in his war against Chronos. Let the act of this destruction show the world that Fotamecus has his allies among the living, amongst those who refuse to become ensnared in the trap Chronos has laid for them.
- 2. The Warrior drops to one knee, and prepares his victim. All participants realize the imminent destruction of the clock, and with eyes closed visualize the sigil of Fotamecus with all their intent, thinking--- Let this sacrifice empower him.
- 1. The Warrior sets the roll of caps upon the ground, and the clock upon that. He places the rock firmly in his hand, and with the sigil of Fotamecus in his mind, raises the rock up and---
0. ---SMASHES THE CLOCK---
1. With a loud bang and flash of light as the caps explode beneath it. At this moment, the Drummer returns to his earliest drumbeat (60-80 bpm).
2. The Warrior rises, presenting the dead pieces of the clock (or what he's able to salvage) to the Chronomancer, who takes them from him. Examining them for a brief moment to ensure that the death is complete, the Chronomancer then presents them to the Drummer. Waiting for the right moment, the Drummer ceases to beat his drum, and accepts the destroyed clock from the Chronomancer as a symbol of triumph. Silence permeates the room.
3. All participants exit the working area silently: Observers first (the crowd disperses), then by the Warrior (who knows his task is done), then by the Chronomancer (who realizes that nothing more is to be done). The Drummer looks at the broken clock in his hands, smiles, and then follows a few moments behind, triumphant.
The Sigil of Fotamecus:
1. While this ritual is designed for a group, others are welcome to adapt it for solo use. It is primarily the emotions and symbolism that compose this rite; details are unimportant. Change it to suit your circumstances.
2. We performed our rite during a time change when Daylight Savings Time becomes Standard Time, in the "hour that does not exist" between midnight and midnight. You should try to time your ritual to coincide with a significant moment in a cycle of time, be it a time change, sunset, sunrise, midday, midnight, solstice, equinox, or otherwise.
3. This ritual was designed without words. There ain't none. If you need 'em, make 'em up yerself. We were quite happy performing the ritual in complete and total silence, with a loud "BANG" at the end.
4. Don't worry about thinking exactly the same things that are written down here; the words in this rite are designed to show you the emotions that you should be feeling during each part of the rite. You don't need to have an internal dialogue going; you shouldn't be "reciting the lines in your head". Let the emotions carry you through the ritual; spontaneous thoughts may arise out of these emotions and acts, giving insight into actions taken. It is the emotive force raised by each individual that powers this rite.
5. The caps work even better if you have observers who don't know that they're being used--- They'll jump in surprise/terror/bewilderment when the clock "explodes"--- Gnosis is achieved when everyone wets their pants. Have the Warrior keep them hidden until everyone closes their eyes and he kneels to prepare the clock for sacrifice.
6. Any participants (or anyone at all) may petition Fotamecus for help at any time after the rite. He seems to show special favor for people who have dedicated themselves to his war. He can compress and expand time quite efficiently, speeding a trip to a destination, or stretching out those peaceful moments you want to enjoy. Time is malleable; otherwise why do this ritual at all? Details about Fotamecus himself are available elsewhere.
7. After performing the entire ritual in silence, it is often hard to start speaking again--- there is a palpable feel that clings to the people who performed the ritual. The traditional way to solve this problem is by performing a banishing ritual. Instead, we prefer to have the Drummer exit last, and to come out beating his drum loudly and screaming at the top of his lungs, breaking the spell that has been cast over the participants. Then banish with food, drink, and merriment!
This ritual was recorded to paper (electron, actually) in a Fotamecus-expanded lunchbreak at a nine-to-five job. Just one more strike against Chronos in the war for time. Praise unto Fotamecus! Smash your clocks! Chronos, your time has come!
This document Copywronged (x) 1997 by Fenwick Rysen
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