Progressing from Thelemic Magick, Maat Magick transforms the ashes and rubble of the destruction caused by the old formula of the Dying God into a new world society. These rituals are designed for the individual, but can be adapted for group work.Introduction by Kenneth Grant, foreword by Jan Fries. Includes "Liber Pennae Praenumbra," a document received by Nema while in a visionary trance. Glossary. Bibliography. Index.

This is a manual of freestyle shamanism. The book aims to develop vision and imagination. It builds on the inspiration of such figures as Austin Spare and Aleister Crowley and stresses the need to develop one's unique magical way. It shows how magicians, witches, artists and therapists can improve their visionary abilities and strengthen the imagination. Activate the inner sense, and discover new modes of trance awareness. The emphasis is on direct experience. The book asks the reader to think, act, do and enjoy as s/he wills. The book began as a small treatise on sigil magick and automatic drawing and was circulated privately amongst occultists. It is especially suitable for practising mind explorers of the unorthodox variety. Both beginners and experienced magicians will find it inspirational and insightful. Jan Fries has a reputation amongst the magical community as a genuine adept. His articles and luminous artwork have graced many of the best magical journals.

"Magick" as defined by Aleister Crowley is "the Science and Art of causing Change to occur in conformity with Will." This book explores expressions of movie magick in classic occult films like Hammer's adaptation of Dennis Wheatley's The Devil Rides Out and modern occult revival movies. These films are inspired by the aesthetics of fin de siecle decadence, the symbolist writings of Villiers de l'Isle Adam, Wagnerian music drama, the Faust legend, the pseudo-science of theosophy, 1960s occult psychedelia, occult conspiracy theories and obscure aspects of animation.

"Examines the theory behind many techniques used in magical, artistic, religious, and scientific systems of thought; then links and applies them towards desired goals"--Back cover verso.

All forms of magic are linked to language. As a magic practitioner and a linguist, Patrick Dunn illuminates this fascinating relationship and offers breakthrough theories on how and why magic works. Drawing on linguistics and semiotics (the study of symbols), Dunn illuminates the magical use of language, both theoretically and practically. He poses new theories on the mechanics of magic by analyzing the structure of ritual, written signs and sigils, primal language, incantations across cultures, Qabalah and gematria (Hebrew numerology), and the Enochian vocabulary. This revolutionary paradigm can help magicians understand how sigils and talismans work, compose Enochian spells, speak in tongues for magic, create mantras, work with gematria, use postmodern "defixios," and refine their practice in countless other ways. ""Magic, Power, Language, Symbol" is a unique tour de force that reinterprets the very nature of magic—placing it within the modern sciences of symbolism (semiotics) and language (linguistics). Within this paradigm, Dunn explains something that most other books miss: a logical and scientific understanding of how and why real magic actually works." —Donald Michael Kraig, author of "Modern Magick"

Explores the common ground of shamanic traditions and evaluates the diversity of both traditional indigenous communities and individual Western seekers.

This collection of sixteen essays deals with the role of magic, religion and witchcraft in European culture, 1450-1650, and the critical role of the visual in that culture. It covers the relationship of humanism and magic; the intersection of religious ritual, orthodoxy and power; the discursive links between the visual language of witchcraft and contemporary anxieties about sexuality and savagery. The introductory chapter urges us to exorcise our tendency to reduce historical experiences of the demonic to forms of unreason created in a distant past. Only then can we understand the role of the demonic in our historical definition of the self and the other. Richly illustrated with 112 images, the book will interest historians and art historians.

There comes a time in every Witch's life when they feel there is nothing left to learn. When all the classes and all the books just cannot satisfy our want to learn more. What if there was a book for all magickal practitioners that went beyond Witchcraft/magick 101, and 102. What if there was a resource that allowed a Witch to grow and learn without the constraints of tradition and at their own pace? ?The Modern Witch's Curriculum? is that resource. Combining history, science, and hands-on activities in an easy to follow calendar format that can be started at any time of the year and on any day of the week. There is no beginning or ending to this book. It can be used over and over again. This curriculum is relevant to anyone of any magickal tradition or spiritual background. Created to guide the reader to areas of study and spiritual knowledge by using any resources that are accessible to them. There are no boundaries or requirements on how the reader can collect the information; it's all individual choice

Here is the occult as you've never seen it before! A history of magic framed as a travel guide featuring 10 magical tours through history and across the globe. Packed with fascinating information and illustrated with Shell guide-style collage artworks, retro-looking postcard imagery and route maps. This terrific book is a guide to the occult world, featuring 10 itineraries and maps of magical tours across the globe. Spanning countries and continents in pursuit of occult themes, it is meant to be pursued by the astral or armchair traveller rather than on the ground, although we expect readers to be inspired to plan epic trips of their own. It takes a fantastically fresh approach to the occult, with a nod to the retro Shell Guides in the use of collage artwork and humorous, on-point suggestions of places to stay and eat. Expand your occult horizons by trying these tours – and many more! Necromancy through the Ages Tour: Travel from Ancient Nineveh to northern England, tracing sites of necromantic practice. Crowley & Choronzon Desert Tour: Hike across the Algerian desert in the footsteps of the magicians Aleister Crowley and Victor Neuburg, invoking angels and meeting the terrifying demon Choronzon. The Descent & Rise of Witchcraft Tour: Visit the temples of Hekate and Circe in Turkey and Italy, the Spanish sites of the Inquisition's witch-hunts, and the haunts of the Norse sorceresses. Curse, Protect and Divine Tour: Travel across Europe to the United States and Kenya unearthing buried curses and counter-magic, from tiny frog coffins in Finnish churches to sinister village hexes. After completing the journeys, the book offers the unique Geonomicon – a simple divinatory and meditational tool that invites the reader to develop their own creative approach to magical practice.

Celebrating the celluloid expression of the Beat spirit—arguably the most sustained legacy in U.S. counterculture—Naked Lens is a comprehensive study of the most significant interfaces between the Beat writers, Beat culture, and cinema. Naked Lens features key Beat players and their collaborators, including William Burroughs, Allen Ginsberg, Jack Kerouac, Charles Bukowski, Brion Gysin, Antony Balch, Ron Rice, John Cassavetes, Andy Warhol, Bob Dylan, Klaus Maeck, and Gus van Sant. As well as examining clearly Beat-inspired films such as Pull My Daisy, Chappaqua, and The Flower Thief, Jack Sargeant discusses cinéma vérité and performance films (Shadows and Wholly Communion), B-movies (The Subterraneans and Roger Corman’s Bucket of Blood), and Hollywood adaptations (Heart Beat and Barfly). The second half of the book is devoted to an extensive analysis of the films relating to William Burroughs, from Antony Balch’s Towers Open Fire to David Cronenberg’s Naked Lunch. This book also contains the last ever interview with writer Allen Ginsberg, recorded three months before his death in April 1997.