Transcendental Magic is a classic of occultism, prized for its wide-ranging wisdom, thorough guidance and revelatory contents. Written by Eliphas Levi in the mid-19th century, Transcendental Magic offers seekers of occult knowledge a bounty of guidance and knowledge. Informed by research spanning many centuries of arcane arts, the author offers us profound guidance to the ceremonial rituals one must perform in order to make contact with spirits and other non-corporeal entities of the universe. In Levi's explanations we encounter various figures of occult lore. Monad is synonymous with God; the creator of everything contained in our physical plane. Derived from the Pythagorean school, through Levi we learn how Monad interacts with the creation. This discussion is related to the Kabbalah, which attempts to define the relationship between what is infinite and what is finite.

The goal of this book is to introduce a reader to a new philosophy of teaching and learning physics - Investigative Science Learning Environment, or ISLE (pronounced as a small island). ISLE is an example of an "intentional" approach to curriculum design and learning activities (MacMillan and Garrison 1988 A Logical Theory of Teaching: Erotetics and Intentionality). Intentionality means that the process through which the learning occurs is as crucial for learning as the final outcome or learned content. In ISLE, the process through which students learn mirrors the practice of physics.

This book uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. Although not a how-to manual, the topics center around hands-on applications, sometimes illustrated by photographic processes that are inexpensive and easily accessible to students (including a versatile new process developed by the author, and first described in print in this series). A central theme is the connection between the physical interaction of light and matter on the one hand, and the artistry of the photographic processes and their results on the other. This is the third volume in this three-part series that uses art photography as a point of departure for learning about physics, while also using physics as a point of departure for asking fundamental questions about the nature of photography as an art. It focuses on the physics and chemistry of photographic light-sensitive materials, as well as the human retina. It also considers the fundamental nature of digital photography and its relationship to the analog photography that preceded it.