Belief-shifting. A powerful magickal technique. Because by changing belief we change perception, and by changing perception reality changes, for what is reality other than perception?

Suppose everyone knew this. Suppose everyone, by choosing what to believe, could construct a reality.

Unfortunately, this is increasingly the world we inhabit. Aided and abetted by technology, reality is progressively more amenable to belief. Yet “magickal” is probably not the word to describe the current state of the world.

Using belief to create a new reality.

Belief is an echo of knowledge. Belief can reproduce a sense of certainty but none of the substance of knowledge. The difference between them is work: to gain knowledge we must do something. Knowledge implies a methodology. To know about Alaska we could read a book, ask an Alaskan, join a study group, or travel there to see. The more we do, the more and various types of knowledge we gain. Someone who knows something, even if it is false, can say how they came by that knowledge. Someone who believes, even if what they believe is true, is not telling you what they have found but what they hope to.

Belief is useful when we cannot do the work required to know. What is needed to do the work might be unavailable, or it might take time to obtain it or learn how to use it. Belief guides and focuses our effort, like a picture of a destination before we arrive. Belief is a motivation, not an end in itself. Later we might enjoy an opportunity to realise how our belief was wrong.

Knowledge and belief take forms that can make it hard to distinguish between them. The difference is not the true/false binary (because both belief and knowledge may be either false or true) but the amount of work done. In a digital culture we have lost capacity to appraise the analogue quantity of work that produces the material before us, as if each item somehow manifested from a uniform degree of effort.

Belief requires minimal effort whereas finding or making facts demands work. Belief-shifting is magickal because it seems to leap-frog work and jump directly to the experience of belief becoming reality. But beliefs do not come from nowhere. They are reflections of ideals. Not even a magickian can transform laziness into a virtue, because magick requires us to believe well. Any belief will produce effects, but the necessity for excellence in belief may only become apparent from unpleasant consequences.

That the needs of future generations are being sacrificed to the interests of an elite might not seem an unreasonable belief to many. But positing a paedophilic liberal conspiracy (Oluo 2016) will incur a different set of consequences. Likewise, it is perhaps not unreasonable to believe that unrestrained expression of opinions will cause actual harm, but believing it is rightful to ban the writings of J.K. Rowling because of views she has voiced elsewhere (Harrison 2020) leads down a different reality tunnel.

The Platonic ideals of goodness, truth, and beauty are universal. Ultimately, as rational animals, we all want the same, but we differ in our means of realising it. Knowledge is closer to truth than believing, but where we cannot do the work required to know then we must believe. Excellence in belief is striving to manifest to the highest degree the ideal in our belief. To be on the Left is to manifest an urge for freedom from what is regarded as bad. To be on the Right is to enact an impulse to maintain what is regarded as good. From the perspective of the ideal they amount to pretty much the same. The closer we align to the ideal, the less scope for division and conflict there will be.

Alignment with the ideal is the Great Work of Magick. “[T]he Science and Art of causing Change to occur in conformity with Will”, was how Crowley (2000: 126) famously defined magick, but he emphasised also the importance of discovering True Will – knowing what we truly want, which is by definition the ideal. Only by doing the work required to know True Will can we approach excellence in belief, which is how we manifest the ideal as best we can.

Magick can look like a quick and easy way to bend reality by shifting our beliefs. Post-modernism and digital communications have widely distributed the tools for doing this. We need not look far for examples of people doing it and where it has led them. Belief might seem to offer a convenient alternative to knowledge, but the dire consequences of this confusion are now endemic, and so too of the failure to believe well.


Crowley, Aleister (2000) Magick: Liber ABA Book Four. York Beach, ME: Weiser.

Harrison, Ellie (2020). JK Rowling: Hachette UK book staff told they are not allowed to boycott author over trans row. The Independent (17 June), (, accessed January 2021).

Oluo, Ijeoma (2016). Pizzagate is a lie. But what it says about our society is real. The Guardian (5 December), (, accessed January 2021).



“The words are almost interchangeable: magick and art”, claims Alan Moore (2015: 0’10”). But I will be taking the contrary view, arguing how magick and art are fundamentally unalike.

When performing group magick in a public place, our cover story was always the same: we were a theatre group or a team of performance artists. So there is, as Moore suggests, a resemblance between art and magick, but at the same time a stark difference, or else it would not have been possible to deny we were doing one by claiming we were doing the other.

Art is admissible within public institutions and can also be a commercial activity, but if magick has value this is proportionate to the extent it releases us from mundane social and financial constraints. Artists can use magick as an aesthetic in which to wrap their work, and magicians can hide theirs behind a facade of art.

Moore, instead of maintaining a distinction between them, seems inclined to draw art and magick even closer together:

If they were only to take on the values of the other camp then we would have magick that […] might actually produce wonderful works of art […] that would give a purpose that modern magick is almost completely lacking. At the same time, if contemporary artists were to be drawing upon the ideas that are in magick then we wouldn’t be getting all of this empty vacuous conceptual shit that art seems to be frozen in at the moment. (Moore 2015: 1’16”)

Of course, we want better art and better magick. But to be good, does art need to draw upon “the ideas that are in magick” rather than find new ones? Will magick “produce wonderful works of art” when magicians are not necessarily artistically trained? If magick lacks purpose, does it then even deserve the title of magick at all? “All art is quite useless” declared Oscar Wilde (1998: xxiv), which perhaps suggests that the utterly purposeless has more more in common with art.

Lionel Snell (writing as Ramsey Dukes) delves deep into this question of where magick and art overlap and depart. His classic text SSOTBE (Dukes 2000) postulates a quaternity of world views – Art, Magick, Science, and Religion – which he explores through comparisons and contrasts. Although he cautions against over-simplification, Snell suggests: “Magic, Art, Religion and Science represent movement towards Wholeness, Beauty, Goodness and Truth respectively” (Dukes 2000: 133). Magick aims at Wholeness, then – oneness, or unity, in other words. The trajectory of magick is union. Magick brings self and world into direct connection. By means of magick we shift our consciousness in order to harmonise with reality. Whereas art, in Snell’s schema, takes a different trajectory, one that by engendering beauty aims at reconciling reality with ourselves:

A poet once told me that it was wrong to think of a symbol as a sort of telephone number connecting one to an idea, and I was surprised because that is exactly what it is in Magical usage. […] In the Magic sector meaning is a precious thing, a pointer towards wholeness, while in the Art sector meaning has become a tangle of associations that one seeks to cut away to reveal life in its pure essence. (Dukes 2000: 46-7)

By bringing art and magick together, Moore envisions that “they would both have a human purpose and would relate to the world in which we are actually all existing” (Moore 2015: 2’47”). For Moore, it seems that neither magick nor art presently connect with reality well enough. But from Snell’s perspective, Moore’s conception of magick seems closer to the trajectory of art. To “have a human purpose” and “relate to the world” might be an end for art, but for magick it is only a means. Magick does not need to relate to or reflect reality but offers a means of directly uniting with it.

Something that is beautiful stops us in our tracks. We admire it for what it is and do not want or need to pass beyond it. In this way the productions of art are ends in themselves. But the products of magick are different; they are “pointers towards wholeness”. As Crowley famously expressed it:

By doing certain things certain results will follow; students are most earnestly warned against attributing objective reality or philosophic validity to any of them. (Crowley 1909)

The “ideas that are in magic” (as Moore put it) have value in allowing us to unite with the absolute, but not in successfully representing it. The Holy Guardian Angel, for example, is a dualistic expression of the non-dual; it is a knowingly poor representation of something that nevertheless enables us to unite with what it points at. No self-respecting artist would produce poor representations, but magicians sometimes strive for this. A good sigil is one that helps us disregard what it represents.

What threw these issues into relief for me recently is The Dark Pool (2020), a podcast created by Rob C. Thompson, occult scholar and a professor of theatre and performance at Chesapeake College, Maryland. It throws these issues into relief because of how it blurs the boundaries between magick and art.

“So many occultists talk about how […] knowing things is not achieving any kind of wisdom. True wisdom comes from practice,” Thompson stated in an interview (Lux Occult 2020: 46’21”), describing how this was his inspiration to make something that was more than a commentary on the occult but also included practical magick:

I created a meditation and I had four of my actors who were fairly new to the group […] and I wanted to experiment with them and have them do the meditation which asked them to reach into that subconscious space and find sounds and just make sounds. And then I built each of them their own meditation track based on those sounds with a mind to attuning them to the higher vibration of their consciousness […] I tell them that through this process they will attune to their subliminal consciousness – and they do. There is a reasonable amount of success. (Lux Occult 2020: 47’21”)

It is an interesting idea, and I agree with Thompson’s interviewer, Luxa, when she comments how The Dark Pool has a similar feel to the film documentary series Hellier (Pfeiffer 2019). This perhaps arises from their shared domain somewhere between art and magick. Whereas Hellier slides inexorably towards the occult, The Dark Pool veers in the direction of art. The meditation Thompson gives his students becomes a springboard for an improvised drama – about a college professor who assigns his students an occult practice for motives that only gradually become apparent. The self-referentiality of The Dark Pool blurs the boundary between fact and fiction, to the extent that in the quotation above it seems unclear whether Thompson is describing a factual magickal working, or simply the fictional plot-arc of his drama, or – being one and the same – both.

This blurring of reality and fiction is not in itself “magickal” but is available fully within the realm and resources of art. The results of the meditation could have been recorded and left to speak for themselves, yet this is not what Thompson gives us. However, the self-referentiality of The Dark Pool ensures that we are not entirely certain that this is not what we are hearing.

I use a lot of students on the podcast, acting students […] My administration got wind of the work and made me promise that I wasn’t forcing them to do it for a grade or that they needed it to complete the theatre degree. (Lux Occult 2020: 25’57”)

This comment from Thompson suggests that what is at work in The Dark Pool is the same dynamic we considered at the outset, the game of hide and seek that magicians play with art. As we have considered previously, the ethics of magick are concerned with providing insight and salvation, which often conflicts with the ethics of a secular mainstream focused more on preventing possible harm. As an educator with an interest in the occult, The Dark Pool offers Thompson and his students a frame whose apparent fictionality will not offend the university administration, and yet which teases its audience with the possibility that they are listening to a work of magick.


Crowley, Aleister (1909). Liber O vel Manus et Sagittae sub figurâ VI. ( Accessed November 2020.

Dukes, Ramsey (2000). SSOTBME Revised. England: El-Cheapo.

Lux Occult (2020). Lux occult podcast episode 10 – ritual, performance and theatre with Dr. Rob C. Thompson from Occult Confessions and The Dark Pool. ( Accessed November 2020.

Moore, Alan (2015). Art and magic. ( Accessed November 2020.

Pfeiffer, Karl, director (2019). Hellier. Planet Weird.

Thompson, Rob C., et al (2020). The dark pool. ( Accessed November 2020.

Wilde, Oscar (1998). The Picture of Dorian Grey. Oxford: Oxford University Press.



I am not sure that he ever wrote it down, but Alan Chapman gave what I consider the best definition of the Holy Guardian Angel (HGA):

A dualistic representation of the non-dual.

In eastern spiritual traditions realisation of non-duality is labelled “awakening” or “enlightenment” whereas the western magickal tradition personifies this realisation as the Knowledge and Communication of the HGA (KCHGA).

“Angel” is often employed as a term of convenience in western magick for any type of entity, process, or experience that lacks a material basis. For instance, if a person survives a situation or illness against extreme odds, this can be experienced as the intervention of an angel. Similarly, processes that act on a transhuman level (such as historical, national or cultural transitions) may also find expression as angelic personifications. A famous example is the Angel of the Mons, an entity that supposedly shielded British forces from certain defeat at the Battle of Mons in Belgium, 1914. This incident most likely originated from fiction and propaganda, but that did not prevent eyewitness reports of angels from troops who were present (e.g. Russell 2017).

The Book of the Sacred Magic of Abramelin the Mage, our source text for the KCHGA, powerfully describes what meeting our HGA is like:

you shall see your Guardian Angel appear unto you in unequalled beauty; who also will converse with you, and speak in words so full of affection and goodness, and with such sweetness, that no human tongue could express the same […] In one word, you shall be received by him with such affection that this description which I here give unto you shall appear a mere nothing in comparison. (MacGregor-Mathers 1976: 84-5)

The experience of non-duality can be described in many ways, but the dualistic representation of the non-dual that is the HGA very clearly portrays it as like being in the presence of someone lovely beyond expression. For Abraham, the narrator of the text, the KCHGA is a coming into relationship with a being absolutely good and perfect. It is a wondrous and unique relationship: “your Guardian Angel is already about you, though Invisible, and conducteth and governeth your heart, so that you shall not err” (MacGregor-Mathers 1976: 78).

To arrive at the KCHGA demands of the magician attainment of the understanding by which this relationship becomes possible. The ritual given in the text for this purpose (henceforth referred to as the Abramelin ritual) is elaborate and long and it is not my aim to rehearse it here. What it boils down to essentially is prayer, but not routine or formulaic prayer: “it is absolutely necessary that your prayer should issue from the midst of your heart” (MacGregor-Mathers 1976: 65). In its very core, the Abramelin ritual is simply heart-felt prayer, for a couple of hours every day, over a period of six months.

It is widely repeated that Aleister Crowley failed at the Abramelin ritual. The full story is far more complicated and subtle than that. I shall discuss this in more detail in the book I am currently writing, but the gist of my argument is that Crowley completed the Abramelin ritual numerous times in different modalities. Yes, he did not complete the ceremony in the specific form that Abraham describes, but instead he fulfilled its objective through the use of an alternative ritual (both physically and astrally), through visionary trance work, and through purely psychological techniques.

As related in The Baptist’s Head Trilogy, Alan Chapman and I had the good fortune to discover that the methods and techniques of chaos magick can be applied to awakening. So why go to the trouble of sourcing a purpose-built temple with a terrace covered in river sand (which is what Abraham instructs us to do) when (as Crowley demonstrated) simpler methods lead just as surely to the HGA?

However, just because the methods are simplified this does not mean the work will be easy. The “fake it till you make it” methodology of chaos magick will only take us so far into the KCHGA. To imagine we can “belief shift” our way into (or out of) an encounter with the HGA would imply a controlling ego deciding what and when to believe. This may suffice for sorcery, but the KCHGA is theurgy. Eventually we will hit a point where our ego and the dualistic representation that is the angel must yield to the direct experience of the non-dual. Sometimes a preliminary to this occurs as a vision of how the HGA has always been with us, a guiding and nurturing presence. But the full realisation of the KCHGA is that there was never any separation from the HGA – we are one and the same.

I have noticed recently some recurrent difficulties described by magicians undertaking this work from a chaos magickal perspective. The first of these is a sense of incompleteness: “amazing things happen but don’t lead anywhere”. The second is relentless doubt over whether the entity invoked is truly the HGA. The solution to both is quietly ready and waiting in the very notion of the HGA itself.

Unlike other traditions that characterise awakening or enlightenment as a state, the KCHGA is presented as a relationship. The practices we undertake for the KCHGA are therefore intended to cultivate that relationship, rather to act simply as a means for attaining a result.

An analogy: we could go to a restaurant to eat, or with someone on a date. In both cases the aim is food, but in the latter case something more besides. We could still enjoy a good date even if the food were bad. Success at the KCHGA is developing the kind of relationship where the date is great even if the food never arrives.

As previously mentioned, the KCHGA is theurgy not sorcery. Magicians with a background in chaos magick are likely to arrive at the KCHGA with a very results-based mindset, and this is where that feeling of “that was amazing but now – so what?” originates. Just because you had some nice food with someone does not mean you have found the love of your life. Once we decide to use the KCHGA paradigm as the means to arrive at non-duality (and there are plenty of good reasons to do so) then the work has to focus on the relationship to the angel rather than upon any state or experience construed as an ultimate goal or result of this.

Flip it around: suppose you were a HGA whose sole task is to guide to awakening the human being you are guardian over. Your human frequently invites you around for dinner, occasionally seeming totally into you and having a great time, but on other occasions they complain of feeling confused because these meetings are not leading anywhere. In this situation, what would you want to say to your human? What would be the likely effect of their behaviour on your relationship?

Sorcery is great for getting a handle on your HGA. Chaos magick techniques will readily obtain the HGA’s name, sigil, visual image, and other attributes, but these are not the goal; they only serve the KCHGA to the extent that they enable the relationship to develop. Chaos magick obtains results but does not help in ascertaining if those results are true. If you are the type of magician who cringes at seeing the last word of the previous sentence without scare quotes, then the work of the KCHGA may become clouded by doubt.

Rather than thinking in terms of whether a correct result has been gained, once more we should approach the question in relational terms. Suppose you were seeing someone but were not certain they were truly what and who they claimed? If there are grounds for supposing the other is not what they seem then there is simply no basis for a relationship. The HGA by definition wants what is best for us, but our only reason for remaining in a relationship with someone we fundamentally do not trust is because we believe we cannot have or do not deserve anything better. Either we must work on understanding why we do that to ourselves, or we should find someone else who obviously has our best interests at heart. No experience proves more conclusively how much the HGA loves us than a mind-blowing synchronicity, leaving us in no doubt we are indeed at the very centre of the universe.

The HGA is a dualistic representation of the non-dual. What this definition brings to light is at once a potential problem but also that problem’s solution. The problem stems from the fact that the HGA is not the non-dual, but the solution lies in how the personification of the non-dual places the focus of the work not on an attainment of a goal but on the development of a relationship.

There is no bond that can unite the divided but love: all else is a curse. (Crowley 1909: I, 41)


Crowley, Aleister (1909). Liber AL vel Legis. ( Accessed November 2020.

MacGregor-Mathers, Samuel Liddell (1976). The Book of the Sacred Magic of Abra-Melin the Mage. Wellingborough: Thorsons.

Russell, Steve (2017). My grandfather said he saw the Angel of Mons. Beccles and Bungay Journal (27 June), ( Accessed November 2020.



Two texts concerning encounters with non-terrestrial entities: the first, Anthony Peake’s The Hidden Universe: an Investigation into Non-Human Intelligences (2019); the second, the film series Hellier (Pfeiffer 2019). Both were created at around the same time, probably unknown to each other, but each confronts a similar mystery of non-human entities which, as Peake puts it:

all have one thing in common: they originally existed in the heavens, came down to earth, were defeated or banished by a controlling power, and ended up underground to occasionally enter this world through portals such as caves and sink-holes (Peake 2019: 44)

Both texts are initiated by personal encounters: in Peake’s case, his mother’s experience of something strange in the sky, followed by a bedroom encounter with an alien grey, even though such things were outside his mother’s cultural frame of reference; in the case of Hellier, unsolicited emails describing incursions of goblin-like greys upon a household in Kentucky.

Figurines of white humanoid figures
The White People. Figurines about 1m tall. Discovered at Ayn Ghazal and dated to 6500BCE.

In each instance, the ensuing narrative leads the protagonists and the reader or viewer into “high strangeness”: happenings so bizarre they transcend the usual categories of weirdness, so that phenomena such as ghosts, extraterrestrials, and psi are jumbled together in an inseparable melee of oddness.

What distinguishes these texts, however, is the trajectory the respective investigations take. Peake begins with shamanism, myth and magick, formulating an argument that reaches its conclusions in what is supposedly science. The Hellier team begin with a supposedly scientific, investigative approach, but are drawn ineluctably towards a conclusion in occultism. Along the way, both are confronted with questions about the nature of reality.

The Hellier team commence in that dire confusion typical of paranormal investigation teams. The first season is almost unbearable to watch, because of the faulty reasoning, their inability to distinguish between knowledge and experience. On their first visit to the town of Hellier they find it odd that so many people approach them with stories of strange happenings. When they return, months later, hardly anyone comes forward, yet this is taken as odd too. Is it really so improbable to have different experiences in the same place at different times?

To communicate with non-human entities the team employs “The Estes Method”, which involves relaying output from a ghostbox through powerful noise-cancelling headphones to a blindfolded human operator who then speaks out loud the messages he or she receives. Questions are addressed to the entity by the other participants and whatever is spoken by the human operator is taken as the response. Whereas typical ghostbox communications are vulnerable to different participants hearing different messages, the Estes Method limits the number of interpretations to one and creates a sense of dialoguing with an entity in real time.

ancient cave painting of human figures
Detail from the Junction Shelter “Bridge Scene”. Note the domed skull and pointed chin of the central figure. Upper Paleolithic.

This is taken a step further in a subsequent episode where the same set-up is employed with another member of the team donning a “god helmet” and engaging with the ghostbox operator in dialogue. A god helmet is an apparatus that stimulates the temporal lobes of the wearer with low intensity magnetic fields. In this sequence the helmeted team member, possibly in an altered state, reports multisensory communications from an extraterrestrial entity, which seem to correspond with the verbal utterances being relayed from the ghostbox operator.

But even as the paraphernalia of modern ghostbusting proliferates, the Hellier crew are converging on what amounts to an ancient method of spirit communication: spirit possession. They could have dispensed with all the technology and gained the same experience simply by calling out to the supposed entities, entering a trance state, and allowing whatever happens to happen. Indeed, the climactic scenes of Hellier amount to this: the team decide the phenomenon relates to the god Pan, so they perform a ritual in the caves to open a portal for Pan to re-enter the world. Their transformation from paranormal investigators into magicians seems complete.

The narrative strands of Hellier are manifold, and I will not enter into them here, but at the very end of the second series, after the somewhat anticlimactic results of the Pan ritual, further pointers seem offered by the phenomenon, two of them being: (1) a passage from The Book of the Law obtained by gematria: “the man and the name of thy house 418 the end of the hiding” (Crowley 1976: 38 [II: 78-9]); and (2) Crowley’s Star Sapphire ritual (1992: 36), obtained by gematria and through some striking synchronicities.

418 is the gematric value of Abrahadabra, which for Crowley means “The Great Work accomplished” (Crowley 2020: point iii). The number therefore symbolises enlightenment, awakening – although I suspect the Hellier crew might be thinking it is the street number of the house where Indrid Cold lives. (Long story…) The Star Sapphire ritual, meanwhile, is a sex-magickal invocation of the non-dual consciousness that forms the basis of spiritual awakening.

The Hellier team discuss the idea of performing the ritual, but no comment is made on its sexual aspect. Famously, in the sixteenth century John Dee and Edward Kelley made contact with angels and were instructed by them to arrange sexual intercourse on the same night with each other’s wives. The Hellier team are perhaps confronting discarnate beings with a similar intention of pointing them towards ritual sex as a means of gnosis. Jason Louv (regarding the case of Dee and Kelley) offers a rationale for this:

We know that sex and particularly possessiveness issues around sex are really tightly wound into the human ego and issues of territory and dominance […] The point of all of that is reproduction […] You need functional ego boundaries to take and defend territory in which children can be raised […] When you deal with sexual deconditioning you’re really hitting at the root of the personality […] It makes sense from the angelic perspective: they are trying to crack the centre of the human personality, but what often happens with these things is that what spiritual beings think human beings can handle they often can’t. (Kaminsky 2018: 51’10”)

Engaging in non-habitual sexual activity, then, can be used as a method for challenging ego boundaries and thereby entering non-dual awareness. If there is a third season of Hellier I doubt that these considerations will be pursued, and I am not recommending that they should (for the same reasons that Louv touches upon) but I imagine the trajectory into ritual and magick will continue, as it becomes clearer that (because it is discarnate and therefore without a material basis) the phenomenon cannot be subjected to scientific investigation – not that the Hellier team were ever really doing that anyway.

Peake, however, does not regard the immateriality of the entities as an obstacle to contemporary science. He traces encounters with non-human entities, or “egregorials”, through shamanism, religious myth, legends of faeries and djinn, the magick of Dee and Crowley, psychical experiments, ufology, and entheogens. By this point he has collected a bunch of odd but recurring motifs: beings originally from the heavens that for reasons unknown have retreated to dark, subterranean caves; that appear in forms often similar to or associated with reptiles or snakes; and with whom entheogens or trance states seem to offer a means of communication. Their motivation and ontological status remain uncertain, but they reappear so often and in so many contexts that it is too simple to dismiss them as fiction. Yet if they do not have material existence, then where are they? Referring to quantum mechanics and theories suggesting that material reality is some kind of simulation, Peake concludes:

If the physical world is, in fact, created purely from non-physical digital information then the existence of non-human intelligences existing outside the program is not so far-fetched. Our Egregorials are simply sentient programs in the same way that we are sentient programs. They just exist on a different level. (Peake 2019: 206)

Peake’s trajectory sends him on a reformulation of reality to accommodate discarnate entities. However, does the idea of the physical world as a simulation make sense? If an aspect of reality leads us to conclude reality is not real, what we were expecting to find? Peake seems perturbed by the suggestion “that physical reality is not actually solid in any real sense” (Peake 2019: 191). For him, apparently, if reality has characteristics somewhat like a computer program or a hologram then it becomes suspect. What seems more likely, however, is that his assumptions are unrealistic. A notion of reality as not real is an idea inherently confused and false.

On the one hand we have Peake, trying to find the entities by using science to reformulate reality; and on the other the Hellier crew, attempting communication by using magick to alter their perceptions. What both might be missing is an invitation implicit in the encounter to radically alter their conception of self. In Peake’s case, if reality indeed lacks substance and is like a hologram, then what would be the nature of human existence within that reality? In the case of the Hellier team, if it is not material creatures that their investigations yield, but meaningful synchronicities, are they noticing what effect this is having upon themselves?

Cave painting of human figure with large head and eyes
Pech Merle, “The Wounded Man”, a human figure with oddly domed head and large eyes. Upper Paleolithic.

The nature and motivation of the entities is implicit in these questions. They are not material creatures but symbols. They come down from the heavens and live in the underworld because that is where we must go to find them. They communicate through dreams, drugs, rituals, and trance because changing our consciousness is what they do. Describing them as “symbols” takes away none of their reality. To approach a symbol is to fall under its meaning and be affected by it.

The association of the entities with reptiles or serpents is related by Peake to an ayahuasca vision of Michael Harner: “The dragon-like entities informed him that they were inside all forms of life, including humans, who are but the receptacles and servants of these creatures” (Peake 2019: 166). This is perhaps taking a living symbol too literally, although it is understandable, given that it was apparently Harner’s first ever ayahuasca ritual, and at the time he was an anthropologist studying the perplexingly alien culture of the Conibo people in Peru.

Compare the conclusions Harner draws from his visionary encounter with reptilian entities to that of Carl Jung in The Red Book:

The serpent is the earthly essence of man of which he is not conscious. […I]t is the mystery that flows to him from the nourishing earth-mother. […] The serpent has the weight of the earth in itself, but also its changeability and germination from which everything that becomes emerges. It is always the serpent that causes man to become enslaved now to one, now to the other principle, so that it becomes error. […] The way of life writhes like the serpent from right to left and from left to right […] Thus the serpent is an adversary and a symbol of enmity, but also a wise bridge that connects right and left through longing, much needed by our life. (Jung 2009: 180-1)

My suggestion here is that we are not the slaves of the serpent (as Harner supposed), but only potentially so. We become slaves to these entities if we follow them into the earth, taking them literally. Earth is materiality, but it is also the site of germination, potential and growth. The myths inform us that these reptilian entities originally came from the stars, but they have a trickster aspect and can ruin us by leading us into confusion. Whereas Peake aims for the stars and tries to trace them back to their original home, the Hellier crew are led into the caves. However, as Jung suggests, we avoid confusion by recognising them as the living symbols that they are, enacting transformation upon us. Where they lead to wisdom it is because we have recognised that how they appear illuminates the nature of the reality that enables this.


Crowley, Aleister (1976). The Book of the Law. York Beach, ME: Weiser.

Crowley, Aleister (1992). The Book of Lies. ( Accessed September 2020.

Crowley, Aleister (2020). Liber Samekh. ( Accessed September 2020.

Jung, Carl Gustav (2009). The Red Book Liber Novus: A Reader’s Edition. New York: W.W. Norton.

Kaminsky, Greg (2018). Occult of personality: episode 191 – Jason Louv and John Dee’s empire of angels. ( Accessed September 2020.

Peake, Anthony (2019). The Hidden Universe: An Investigation into Non-Human Intelligences. London: Watkins.

Pfeiffer, Karl, director (2019). Hellier. Planet Weird.