Pop Culture Magick
Pop Culture MagickTaylor EllwoodStafford, England
Pop Culture MagickBy Taylor Ellwood 2004 2nd edition 2007Smashwords edition 2009Smashwords Edition, License NotesThis ebook is licensed for your personal enjoyment only. Thisebook may not be re-sold or given away to other people. If youwould like to share this book with another person, pleasepurchase an additional copy for each person you share it with.If you’re reading this book and did not purchase it, or it was notpurchased for your use only, then you should return toSmashwords.com and purchase your own copy. Thank you forrespecting the hard work of this author.All rights reserved, including the right to reproduce this book,or portions thereof, in any form.The right of Taylor Ellwood to be identified as the author ofthis work has been asserted by him in accordance with theCopyright, Designs and Patents Act, 1988.http://www.the greenwolf.comCover Artist: Todd HeilmannAn Immanion Press Edition published through anion-press.comImmanion Press8 Rowley GroveStafford ST17 9BJUK
ForewordBy LupaI blame Taylor for a lot of things. I blame him foreffectively ending my bachelor(ette)hood. I blame him forinfecting me with anime. I blame him for making meenjoy cooking as I now have someone else to prepare foodfor, and I can’t get away with Campbell’s soup on thenights it’s my turn to make something edible. And I blamehim for getting me hooked on pop culture magick.I’m sure most readers have heard the saying,“Intelligence is sexy”. Well, for me, magick is anextension of that. While being an awesome magicianwon’t in and of itself get me to jump in someone’s bed,it’s definitely up there on my list of desirable traits. Andall of the things above that I blame Taylor for have to dowith pop culture magick.Shortly after we first met in 2005, Taylor gave me acopy of the first edition of Pop Culture Magick. I’d neverread anything by him, but he made quite sure that I hadample opportunity to change that. I knew he was anexperimental magician, but nothing quite prepared me formy first dose of his writing. Through my background inChaos magick I had developed a love for innovative ideas.Reading about how anime, roleplaying games and otherelements of pop culture could be used in practical magickdidn’t shock me—it made perfect sense.And that was the start of a beautiful romance. In thetime since then I’ve been introduced to all sorts ofelements of geekery and magick that I hadn’t evenconsidered. I even experimented with pop culture magickfor my first book, Fang and Fur, Blood and Bone: APrimal Guide to Animal Magic. I worked a very
successful ritual with San and Moro from MononokeHime, and to this day I still work with San as a huntressgoddess.Of course, I’m a little biased. That initial attractionthanks to a common love of unconventional magickalpractices ended up with me somehow acquiring a spouse,a bunch of anime, and a whole lot more books. Not thatI’m complaining, of course.But I’m not alone in embracing pop culture magickas a viable system. I’ve gotten into numerousconversations online and in person about the viability ofworking with the crew of Cowboy Bebop as elementalfigures, and I recently wrote an essay for Key64.net aboutthe shamanic journey as portrayed in the Neon GenesisEvangelion series. A lot of the feedback has been good,whether from other people who had already gonetravelling into that territory (often armed with PopCulture Magick) or who were overjoyed to hear that theyweren’t the only ones pondering whether you couldactually evoke characters from the Final Fantasy games.Of course, there’s been criticism too. Pretty muchfrom the beginning Taylor’s taken flak from variouspeople about “You can’t invoke Buffy!” and “D&D/FinalFantasy/WoW is just a game! It has nothing to do withmagic!” (Taylor’s in good company here, as IsaacBonewits’ Magical Thaumaturgy explains how to workreal-life magical dynamics into RPGs—sort of the inverseof what Taylor does! But they’ve both got the right idea,as far as I’m concerned: magic really is everywhere aslong as you know how to look.) He’s been labeled“fluffy”, despite the fact that he has consistently shownsolid results with his magick and can explain quitethoroughly how he did it. And he’s been told that“reinventing” magic is a waste of time (why can’t you belike all the other nice magicians and just play with Goetic
demons and classic deities, hmm, Taylor?).But controversy isn’t such a bad thing. It gets peopletalking, and it gets them thinking. I’ve talked to peoplewho initially thought the idea of pop culture magick wascrazy, but after taking the time to try to understand it,found that it wasn’t so far off after all. Even if they didn’tpractice it themselves, they at least allowed it a place atthe table, so to speak. And those who disagree andproceed to complain about it still draw attraction to theconcept, which may alert those who do see it as a viableform of practice.And that’s something that I really admire aboutTaylor. In the three years since this book has come out,he’s weathered the storm of criticisms and managed tomake a successful author out of himself. From what I’veseen and been told, it hasn’t been easy—but then again,things that are worth doing aren’t necessarily simple. Themark of a true magician, in my opinion, is someone whois willing to create hir own reality despite the hardships.S/he may take external factors into account, but s/he isstill in control of hirself and hir personal evolution. Thisdoesn’t necessarily mean achieving perfection; after all,we are all only human.This book marks the beginning of a career ofconveying innovative magic to the occult community atlarge. We need more of that. We need more people whoare willing to push the boundaries, come up with newideas, and show others how to make those concepts workfor them. Just because pop culture magick and other formsof experimental magic aren’t everyone’s cup of teadoesn’t mean they have no value.I consider myself very fortunate to have such acreative magician in my life who has shared all sorts ofnew ideas (new to me, anyway). For giving me a newperspective on the practice of magic, I think I can forgive
him for making me share my territory.IntroductionI first began experimenting with Pop Culture magick backin 1997. From the beginning, I always encountered someresistance and dogmatism from other magicians whothought that using pop culture was beneath the dignity ofdoing magick. These same magicians, ironically, oftenhad some reverence for Neal Gaiman, Grant Morrison, orAlan Moore, writers who pop culture not just to make aliving, but also incorporated it into their practice ofmagick. I suppose it never occurred to the people thatdisagreed with me that more people than just me wereusing pop culture in their practices. Perhaps the celebritystatus of the people doing pop culture magick made itmore acceptable.Regardless of that, what you see here is a result ofexperimentation, a drive to do more than just repeat thework of other magicians. Of the three authors mentionedabove, I’ve only read Alan Moore’s work, and a little bitof Gaiman. I’ve always found Moore very inspiring,particularly his willingness to experiment with his genre,pushing its boundaries. That’s what this book is for aswell. I want my readers to push the boundaries,experiment, take the ideas further, and find new directionsnot covered in this book. That has always been myapproach to magick.The examples I use in this book are not intended tobe prescriptive examples of what is acceptable pop culturemagick, but rather are descriptive and should be treated assuch. I trust that my readers will choose whatever they
deem to be pop culture and work with it, as opposed tochoosing what I’ve used. In other words, don’t go by myexamples alone to determine how to practice pop culturemagick. Also bear in mind that I use examples of popculture that I’m familiar with, which might be quitedifferent from what you consider pop culture to be.There’s no right or wrong answer though for what popculture could be, because what each person considers popculture differs from the next person.In reading this book you’ll find some intriguingcitations by other authors. Some of these authors, such asWilliam G. Gray and Stephen Mace, are almost unknownin today’s contemporary occult world. My goal in writingthis book is to bring attention to their writing and the ideasthey expressed in it. You will find a bibliography thatfeatures some out of print books. I hope that the readerdemands that these books be brought back into print. I amdedicated to preserving the magickal culture we have andthat means putting those books into the hands of thecoming generations of occultists. It also means raisingrecognition about these writings and their ideas so that wecan learn from them, instead of letting the few remainingcopies of their books molder into dust and obscurity.A final note: At the time of this writing, it’s beenthree years since this book was first published. One of thecomplaints I received about the original version of thisbook was over the quality of writing, and another wasabout the choice of examples, as if I should be in tunewith what each and every reader thinks is pop culture. Ihave updated some of the examples I used back then, formore contemporary times, but I repeat with what Ipersonally think of as pop culture. My choices may not beyour choices, and as such you might disagree with mychoice of examples. I’m not out to dogmatize how youpractice magick, but neither do I want to be told what
examples I should use. The examples that are used arebased off of personal experience, likes, and whatever Ielse felt would be useful for explaining a point. However,the real importance of this work is not the examples, butthe concepts and techniques, which are timeless. DONOT mistake the example for the technique. Take thetechnique and derive your own practices and experienceswith it. The main reason I revised PCM was to clean upsome of the writing so that those ideas were expressedbetter.At the time of this writing, I’m revising Multi-MediaMagic, which introduces some new techniques that wouldbe considered pop culture magick. The reason the extramaterial has not been included in this update is that it’sliterally long enough for a book on its own (and has manynew ideas and approaches that I never covered in PopCulture Magick). Also the material for the new book,while drawing on some pop culture, is sufficientlydifferent that it would not fall entirely in the venue of thiswork. Instead while this revision is a clarification, it is notan entire revamp, as one is not needed. I prefer to thinkthat the concepts and techniques are, in and of themselves,something that can be used regardless of what example isoffered to explain them. In other words, do not mistakethe technique for the example.This was my first solo book. It has been a book thathas gotten a mixture of reviews about it. It has prompted,in me, a mixture of reaction and responses. At times I feelpride; at other times I wonder what it was I was thinkingwhen I first began to write it. I don’t regret that this bookwas written, for clearly it has reached readers andprovided a fresh infusion of life into occultism. I hope italways will. In the end, I think and find that I am pleasedthat this was my first book. It provides the beginning of apath I started walking long ago, a decision on my part to
revise magick into something that wasn’t concerned withjust the past, but embraced the present and future. It alsooffered for me a challenge to continually reinvent myapproach to magick (or reinvent the wheel as one of mydetractors said). I proudly reinvent my approach withevery book, to offer to myself and others the realizationthat stasis and stability are dead ends in every endeavor,but that calculated change can bring new outlooks, newhope, and lots of laughter.Taylor EllwoodPortland, OR May 2007Why Pop Culture?When I first began writing this book I was asked why popculture as a form of magick? The many people I toldabout the concept of pop culture magick were astonishedand skeptical of the workability of such an idea. Onefellow magician even told me I was reinventing the wheel.He might be right.But despite the skepticism, I also saw – and see – amarket for pop culture as a form of magick, and otherwriters and even publishers would seem to agree. In fact,the media has made pop culture into a promising metasystem for practicing magick, with lots of potential foranyone who is creative and imaginative. I might bereinventing the wheel, but at least when the wheel isreinvented, it’s my wheel instead of someone else’s. Foranyone who chooses to test and try out the ideas andpractices in here, a chance to reinvent the wheel and makeit your own wheel lies before you.
But before that can happen, it’d be a good idea if Ianswered another question in regard to pop culture. Whatis pop culture? Pop culture, as mainstream societyunderstands it, isn’t quite what pop culture actually is.Most people, for instance, will associate any kind ofcelebrity that dominates the media news as being popculture, but that’s not always true. Michael Jordan or BenRoethlisberger, though popular within media coverage, isnot necessarily pop culture icons. The athlete is acceptedand adored by mainstream culture, largely because s/hepresumably represents the values of mainstream culture.That said, people give power to athletes and it’s notunreasonable to draw on that power. For the focus of thisbook however, I focus on what I consider pop culture tobe (which may differ from what you think of as popculture).Pop culture is defined by what it does. Pop cultureresists the mainstream blah culture. It possesses andrepresents different value systems, which clash with thevalues of mainstream culture. However, the value systemof a pop culture icon can and usually is consumed bymainstream culture, unless the pop icon changes. Forexample, who’s heard much about Christina Aguilerathese days? At one time she was a pop culture icon, butshe rarely makes the news any more. She is now part ofthe mainstream.On the other hand, Britney Spears has been a personwho is consistently a pop culture icon, always changingher appearance, her habits and values, before mainstreamculture adopts them. At the start of her career, she hadinnocent virgin act that appealed to younger kids. Then asshe became more popular she encouraged thirteen-yearolds to bare their bellies and dress in a manner consideredtoo sexy for their age group. These teenage girls, andmany others, looked up to Britney as a symbol of sexual
liberation and identity. Other people, representing theconservative views, deplored Britney’s racy persona.Mainstream culture was influenced to believe that BritneySpears was a pop culture icon with a message. She wasgiven lots of media coverage and people would tastefullyagree that the music of Britney Spears was horrible, notbecause they’d actually heard it, but because BritneySpears was part of pop culture and therefore someone tobe distrusted and disliked. Since then, Britney hasreinvented herself in a variety of ways, from who shekisses and dates and marries and divorces, to the kind ofreligious practices she follows, to the music she sings andplays, to the babies she’s born and the domestic bliss orlack thereof that she has. At the time of this writing she’sshaved her head, gotten tattoos, and gone to a rehabcenter. By the time this book is published, who knowswhat she’ll have done next? Yet by doing all of theseactions, she has successfully continued to be part of popculture.What does this have to do with magick? Pop cultureis a new avenue of exploration for magick. It givescreative magicians a different approach to doing magick,without any prescribed approach or system governing howyou do it. Not only that, but it’s also a vigorous,energizing current within our society. Pop culture iscontemporary, occurring right now, and that kind ofenergy is vibrant for us because we live at the time itoccurs and can understand the context of the pop cultureicon or genre or whatever else. Compare thecontemporary pop culture personalities with ancient Greekor Nordic gods and you will likely find that some peopleidentify with the current figures over the ancient gods(Though some people, such as reconstructionists, find thetraditional gods to be more meaningful to them).There are a couple of reasons why many people
identify with pop culture more than traditional beliefs.The old pantheons are outmoded in this day and age. Weknow what generates lightning and thunderbolts, and it’snot a god on Mount Olympus. Similarly, we know nowwhy the seasons occur and it’s not because a girl has goneunderground to be with the god of the dead for fourmonths out of the year. But although we know whatmakes these natural phenomena occur, it does not meanwe no longer need the Greek myths or the rituals.Undoubtedly, for some people working with Greek godsand doing Greek rituals is spiritually fulfilling. But whatabout people like me, who want to do somethingdifferent? For these people, pop culture magick is ananswer. We have new gods and goddesses for people whowish to work with deities, and we have practicaltechniques based on pop culture for people who want todo magick a different way.Another reason the ancient gods are outmoded islanguage, culture, and ritual. Very few people speak orread ancient Greek. I have yet to encounter a person fromthe ancient Greek culture, but I can guarantee that such aperson would have a different concept of what the Greekgods were as opposed to contemporary views. To have afull appreciation of the ancient gods and the ancientrituals, speaking and reading the original language andunderstanding the original culture is essential, because itgives the practitioner context to understand what it is s/heis working with. But who has time to learn ancient Greekand where will you go to learn it? More often than not,many people simply won’t learn the original language ofthe cultural tradition they’re practicing in, because theydon’t have time or resources to do so. (I will note howeverthat there are a growing number of reconstructionistsmovements, where practitioners attempt to reconstruct asaccurately as possible the beliefs and practices of an
ancient culture, in order to work with the gods from thatculture. I respect their efforts a lot and suggest that peoplecheck out their movements.)But with pop culture magick you don’t need to learna language to understand the context of the magick you’reworking with. All you need is creativity.Of course, another point that should be mentioned isthat pop culture can appropriate the energy and conceptsbeyond these older god forms, or even systems of magick,and make something new out of them. We have modernmanifestations of archetypes that embody the energy ofprevious versions. Buffy and Xena are warrior womenwho can be used to appropriate the concepts behindAthena. We have anime shows that take systems andcosmologies, such as the Kabbalah or the Mayan beliefs,and revitalize them within a modern context. These godforms and systems of magick are valid in and ofthemselves, but some people will approach andunderstand magickal practice better through pop culture asopposed to other cultures’ traditions. As you read thisbook, apply my ideas to older approaches of magick andgod forms. Develop correspondence systems or establishparallels between ancient concepts and pop culturemagick. Use pop culture to reinvent the modern“occulture” we have.Of course pop culture doesn’t have to rely on pasttraditions to find god forms. The Flying SpaghettiMonster was created as a satiric commentary and parodyof the Christian fundamentalists’ desire to havecreationism and intelligent design taught as an alternativeto evolution. Since its creation however the TFSM hasevolved a mythology and symbols to represent it. It maynot yet be a full religion (if ever), and yet people alreadyhave a religious garb for it (pirate clothes and you have totalk like a pirate as well) and a doctrine of sorts that
explains some of their beliefs. The TFSM is a result of acultural need that has called for some kind of answer. Thisentity is a modern one, but the fact that it has followersshows that it has relevance and value to those people andto the world at large.Pop culture magick is a chance to move forward anddo something different and new. A lot of the magickaltraditions haven’t significantly progressed with the times,and this shows in the books written in regards to them. Ifyou crack open any of the major occult publisher’scatalogues, you’ll find, for the most part, books that areabout older traditions; newer approaches to magick arefew and far between. What truly astonishes me is the fiftyor more books on Wiccan magick in a given catalogue,but very few books offered on any other occult subject.But whether it’s Wicca, Golden Dawn, Thelema or someother approach to magick that is being flogged to death forthe billionth time, the books that are offered on the subjectare usually rehashing what’s already been written. Theremay be some changes occurring, but not enoughexperimentation or usage of what is contemporary andpart of our culture now.The cutting edge for pop culture magick is themedia. It works with and exploits the multimedia topromote itself. The magician can use different forms ofmedia as a magickal tool to fuel the workings s/he does.Further, such usage of the media allows the occultist toslip in hir own meme (aka message) about the occult. Agood example of this is Arkenburg’s magical war withFox News, where he inserted what he called a love bombinto the FOX news meme. Arkenburg did a series ofmagical workings using sigils, meditation, and constantexposure to Fox news in order to implant his love bombinto the meme of Fox News. Shortly after he finished hisworking, the scandal where an employee accused Bill
O’Reilly of sexual harassment occurred (Arkenburg2006). This approach of his allows us to ask the followingquestion: Instead of letting the media stereotype us, whynot get the stereotypes to work for us? We can impact themedia outlets with magical workings by using those veryoutlets to find a way in and from there use pop culture toeffect change in the self and environment.The irony in all of this is that many magicians don’tknow what pop culture is. I did a survey on popculture/literacy through four occult email listserves. Thetotal number of people on the lists was around twohundred, yet only one person answered the survey. Thinkabout this: only one single person answered the survey.The questions weren’t hard, but did require some thinking.So the people on the lists either chose not to answerbecause they genuinely didn’t have an idea about thesubject material, or they didn’t care. The answers I didreceive were disheartening and showed a fundamental gapof knowledge in what occultists knew. I don’t base myassumptions on the answers of one person, but rather onthe glaring realization that so few were interested inparticipating, probably for the same reason that the personwho answered the survey explains right here:“I really don’t have a definition of it [pop culture] as I’mnot overly interested in the subject.”That person and many other occultists might ask why theyshould even bother to be concerned about pop culture inan occult setting.The reason why the magician should care is that popculture is all around us. Every day we read the news aboutthis or that celebrity and what and where and with whos/he is doing something, or we pick a favorite TV showand watch it, or even read a particular genre of writingthat entertains us. There’s a lot of energy being directed to
those celebrities or events or TV shows that could beapplied magically, if someone chose to do so. To blatantlyignore the influences that pop culture brings to our lives isto ignore the contemporary energy available to us.Knowing how to manipulate reality, whether it’s inner orouter reality, means being in touch with what’s occurringaround the magician and pop culture is occurring all thetime. We ignore pop culture, its impact on theconsciousness, and how it portrays magick at our ownrisk.To understand pop culture and how it can be appliedto magick, we need to change our perceptions of whatmagick is and, more importantly, what it is we choose tointeract with everyday. In changing our perceptions, wewill free ourselves from previously held beliefs andconsequently move beyond what is known and go intonew territory. But all along, that’s what magick has beenabout. The new territory we walk and work with is theterritory that allows us to grow and adapt.Part of what makes magick effective for apractitioner is, not surprisingly, practice. In each chapterof this book, you will find exercises that at the very leastshould get you questioning and thinking. At the most, Ihope they get you practicing and experimenting withmagick. The first set of exercises comprises the questionsof the survey I devised.ExercisesDefine pop culture as you understand it. Examine yourdefinition and try to determine what social influences(various media, family and friends) have an effect on thatdefinition and why.How would you apply magick to pop culture? If you havean idea, try it out and record what happens. Don’t just
write the idea down, but do a ritual involving pop culturein some form or manner.Define literacy.Take a magickal system like Wicca, or Native AmericanShamanism from one tribe or another, or Asatru (Norseheathenry) and find pop culture equivalents to the godforms and beliefs expressed in these beliefs.The Literacy of the OccultistThe literacy of the occultist has never really been talked orwritten about. I want to define this before we go further,because the ideal literate occultist would have no problemusing pop culture, and in fact would not be theconventional literate person. The conventional definitionof literacy is (as the one person who answered the surveyput it): “The quality/state of being literate, with literatemeaning being able to read and write. However, it couldalso mean well versed, having knowledge, and/orcompetence in a certain topic.” This definition isapproximately what you’d get from the average person onthe street, with the second sentence being an addition onthe standard definition. However, literacy is much morethan this definition. It can involve the mastering of adiscipline or methodology or it can involve how theeveryday activities we do help us understand reality. It isour experience and application of that experience on theworld around us.The following quote defines literacy in terms ofoppression: “The theory in this study is that literacy is asystem of oppression that works against entire societies as
well as certain groups within given populations andagainst individual people literacy oppresses, and it isless important whether or not the oppression is systematicand intentional, though often it is both, than that it worksagainst freedom” (Stuckey 64). This is the literacy of themainstream. For mainstream society, particularly those inpower, literacy is the censoring and channeling ofinformation to those particular people deemed worthy ofhaving the information. The media is biased towardcertain values and does not represent everyone. Theliteracy any person has is shaped both by the biases ofothers and the internal biases of that person. Although wehave such media as the Internet, which supposedly offersinformation on any and everything, actually accessing(and knowing how to access) the information anddetermine its factual relevancy can be a different matteraltogether.Most occultists will agree that the media doescontrol what kind of information goes out to themainstream public. For example, to justify the war in Iraq,the U.S. insisted there were weapons of mass destruction,but during and after the war not one weapon of massdestruction was ever found. The U.S. hastily blamed thismisinformation on faulty sources. A couple of times theU.S. claimed it had secret information in regard to thiswar, but never saw fit to disclose the actual information.The claim was that if this was done it would cause a panicin people, but in reality the U.S. had no secretinformation. Why hide information if allowing peopleaccess to the information caused them to realize the threatIraq posed us? Nor should the reader forget that everytime the economy has shown the slightest hint ofstabilizing, a terror report is issued and people once againfeel scared, the economy goes into flux, and the newestversion of the Patriot Act is pushed, to limit the freedom
of the American people. These announcements keeppeople tightly controlled and looking to the government tosolve their problems. And it’s a form of literacy that keepspeople nicely oppressed because most people won’tquestion or act on what the government is actually doing.Let’s define literacy another way. There are manydifferent kinds of text to which literacy can be applied.There is the obvious text of a book, like this one in yourhands. But there is also the text of a DVD movie, atelevision show, a radio program, a plant, or an animal.How are these other examples texts? There is one thing incommon that all of them share. You have to interact withthe book, the DVD movie, the TV or radio show, theplant, or the animal in order to actually understand anyone or all of them. And this interaction can be as simple aswatching a show or listening to lyrics from the radio. Butwhere literacy really comes into play is when you not onlyinteract with something, but actually apply what is learnedthrough the interaction to other facets of your life.Literacy isn’t just about reading, writing, andcomprehension. It’s about culture, professionalism, an
Chaos magick I had developed a love for innovative ideas. Reading about how anime, roleplaying games and other elements of pop culture could be used in practical magick didn’t shock me—it made perfect s
Eclectic Magick,” and yes this is a book about real magick! What is Magick, & why read this book? “Magick is the Science and Art of causing Change to occur in conformity with Will.” Aleister Crowley Or in more modern terminology: Magick is the methodology of attracting to one’s self, those events required for the achievement of a goal.
Magick Word–Doku Puzzles 7 Magick Word-Doku puzzles come in two sizes: six-letter magick words and nine-letter magick words. Six-Letter Word-Doku Puzzles A grid of six squares by six squares can also be divided into six smaller grids of two squares by three squares. You want to fill in the grid with the letters from your Word-Doku word.
Orphic Magick-that is, an emotional approach, in contrast to Hermetic Magick, which uses the mind to work magick. In recent times these have been divided into two broad cat egories of "inhibitory" and "excitatory gnosis."3 Hermetic Magick is inhibitory; Orphic Magick is excitatory. The classi
Magick refers to a path of transformation and evolution with its own set of practices and a long, complicated history. And this book is about high magick because it’s mostly about spiri-tual growth, energetic practices, ceremonies, rituals, and invocations. It’s a simple distinction to differentiate it from magick, which low
Oct 09, 2021 · Chaos Magick Explained (Author Unknown) [Note: I found this online, in a FAQ on Chaos Magick. It is provided here only to give some context and history.] Chaos magick is the fruit of Austin Osman Spare and Peter Carroll's rebellion against the traditional magickal systems, which they de
Developments of the magick and esoteric philosophy in the lineage of the Golden Dawn and Aleister Crowley have, by rather convoluted paths, come to two major results: Chaos magick and Maat magick.2 Chaos magick has had fair exposure through the
Enochian magick is a system of magick called “theurgy.” Theurgy, also known as “angel magick” is a system of magick used for summoning angelic beings. Many occult societies today, 6 such as the Golden Dawn, make use of the original Enochian calls to summon angels.
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