Telepathy, thought transference, unconscious communication. While some important early psychological theorists such as William James, Frederic W. H. Myers and Sigmund Freud all agreed that the phenomenon exists, their theoretical approaches to it were very different. James's and Myers's interpretations of and experimental investigations into telepathy or thought transference were an inextricable part of their psychical researches. Freud's insistence on the reality of thought transference had nothing to do with psychical research or paranormal phenomena, which he largely repudiated. Thought transference for Freud was located in a theory of the unconscious that was radically different from the subliminal mind embraced by James and Myers. Today thought transference is most commonly described as unconscious communication but was largely ignored by subsequent generations of psychoanalysts until most recently. Nonetheless, the recognition of unconscious communication has persisted as a subterranean, quasi-spiritual presence in psychoanalysis to this day. As psychoanalysis becomes more interested in unconscious communication and develops theories of loosely boundaried subjectivities that open up to transcendent dimensions of reality, it begins to assume the features of a religious psychology. Thus, a fuller understanding of how unconscious communication resonates with mystical overtones may be more deeply clarified, articulated and elaborated in contemporary psychoanalysis in an explicit dialogue with psychoanalytically literate scholars of religion. In Legacies of the Occult Marsha Aileen Hewitt argues that some of the leading theorists of unconscious communication represent a 'mystical turn' that is infused with both a spirituality and a revitalized interest in paranormal experience that is far closer to James and Myers than to Freud.

Antero Alli and Klint Finley discuss Antero's 'paratheatre' projects, his relationships with Christopher Hyatt and Robert Anton Wilson, and much more. Approximate running time is 36 minutes.

Harry Gilmore has no idea of the terrible danger he faces when he meets a beautiful girl in a local student bar. Drugged and abducted, Harry wakes up in a secure wooden compound deep in the Welsh countryside, where he is groomed by the leaders of a manipulative cult, run by the self-proclaimed new messiah known as The Master. When the true nature of the cult becomes apparent, Harry looks for any opportunity to escape. But as time passes, he questions if The Master's extreme behavior and teachings are the one true religion. With Harry's life hanging by a thread, a team of officers, led by Detective Inspector Laura Kesey, investigate his disappearance. But will they find him before it's too late? *Previously published as The Girl in White*

Outline of the processes of cosmic evolution, including detailed exercises for attaining higher conscious states.

The first major survey of the occult collection of artworks, letters, objects and ephemera in the Tate Archive and collection. Revealing over 150 esoteric and mystical pieces, some never before seen, this book gives a new understanding to the artists in the Tate collection and the history and practice of the occult. A lavishly illustrated magical volume acts a potent talisman connecting the two worlds of Tate - the seen public collection and the unseen secrets lurking in the archive. The pages of this book explore the hidden artworks and ephemera left behind by artists, and shed new light on our understanding of the art historical canon. It offers an in-depth exploration of the occult and its relationship to art and culture including witchcraft, alchemy, secret societies, folklore and pagan rituals, demonology, spells and magic, psychic energies, astrology and tarot. Expect to find the unexpected in the works and lives of artists such as Ithell Colquhoun, Paul Nash, Barbara Hepworth, Cecil Collins, John William Waterhouse, Alan Davie, Joe Tilson, Henry Moore, Eileen Agar, William Blake, Leonora Carrington and Pamela Colman Smith. For the first time, the clandestine, magical works of the Tate archive are revealed with archivist Victoria Jenkins exploring relationships between art and the occult, and how both can act as a form of resistance to challenging environments. This book challenges perceptions and illuminates the surprising breadth and extraordinary ways in which artists interpret not just the physical world around them but also the supernatural, to make the unseen, seen. If you think you know Tate artists, it's time to think again.

When Jean-Francois Champollion rediscovered how to translate the Egyptian hieroglyphs in the early nineteenth century he described them as "....a complex system, a writing that is figurative, symbolic, and phonetic all within the same text, a single sentence, I would even say a single word." Since then, although his discoveries have led to the translation of most of the ancient Egyptian texts, the emphasis in modern scholarship is to regard the hieroglyphs purely as sounds and to disregard or even deny their symbolic meaning. This book explores how the hieroglyphs function as a comprehensive system of magical symbolism, the medw neter or Words of the Gods by which the sacred truths of the Inner worlds of creation are conveyed to humanity. Their effect is 'magical' because when we study them and ponder their meaning they cause changes in our consciousness, enabling us to reach a deeper understanding of ourselves, of our surroundings and of the universal principles that lie behind all creation. They also incidentally teach us a great deal about the magical beliefs and practices of the ancient Egyptians and their perception of the relationship between the earthly and spiritual worlds. Using many examples and illustrations, this book demonstrates how the hieroglyphs formed the basis of Egyptian magic and were the means by which it was taught and practiced. It offers an entirely new interpretation of Egyptian magic, and shows how the hieroglyphs can be used as a magical tool that is as transformative today as it was in ancient times.