Chaos Magick, a contemporary magickal tradition originating in England during the 1970s, stands at the intersection of neo-paganism and the broader esoteric subculture. Rooted in the occult beliefs of the artist Austin Osman Spare, the movement emerged as a response to what its founders perceived as the overly religious nature of existing occult traditions. Stripping away the ornamental aspects, Chaos Magick sought to distill magick to its fundamental techniques. Notably, it has been likened to an invented religion, sharing conceptual parallels with Discordianism, and includes prominent magickal organizations like the Illuminates of Thanateros and Thee Temple ov Psychick Youth.

At the core of Chaos Magick lies a belief that magick is fundamentally linked to the conditioning of perceptions by beliefs. Advocates of Chaos Magick assert that altering one’s beliefs intentionally can reshape the perceived reality. In this paradigm, belief itself is treated as a tool, leading to the creation of unique magickal systems by practitioners who often draw inspiration from diverse sources, including other magickal traditions, religious movements, popular culture, and various philosophical strands.

Chaos Magick, as described by scholar Hugh Urban, represents a fusion of traditional occult techniques and applied postmodernism. The movement embraces a postmodernist skepticism, rejecting the notion of absolute truth. Instead, all occult systems are viewed as arbitrary symbol-systems effective solely due to the practitioner’s belief.

The historical roots of Chaos Magick trace back to the early 20th century and the work of Austin Osman Spare, who developed the use of sigils and the concept of gnosis. Though Spare did not witness the emergence of Chaos Magick, his ideas laid the groundwork for its theory and practice. Influences from Aleister Crowley, contemporaneous with Spare, also played a role in shaping chaos magickal thought. The 1960s and subsequent decades saw the rise of Discordianism, the punk movement, postmodernism, and the writings of Robert Anton Wilson, all contributing to the ethos of chaos magick.

Pioneered by figures like Peter J. Carroll and Ray Sherwin, chaos magick distanced itself from the need for adherence to a single convention. Carroll and Sherwin, founders of the first chaos magick organization, the Illuminates of Thanateros, emphasized a result-oriented approach over rigid adherence to tradition. In 1978, seminal works on chaos magick, “Liber Null” by Carroll and “The Book of Results” by Sherwin, were published, solidifying chaos magick as a distinctive occult tradition.

Carroll posits that beneath the local symbolism and terminology, all magickal systems share a remarkable uniformity of method, ultimately deriving from the tradition of Shamanism. Chaos Magick, therefore, invites practitioners to navigate uncharted waters, where belief becomes a transformative tool, and the very essence of reality is subject to intentional alteration.