Introduction

Introduction

It’s like Harry Potter meets Don Juan. That’s how I described this book to my colleagues. 

For those who are unfamiliar, The Teachings of Don Juan: A Yaqui Way of Knowledge is a book written by anthropologist Carlos Castaneda. The story is about a Yaqui Indian shaman, sorcerer, and “man of knowledge”, Don Juan Matus. Castaneda met Don Juan while working on his master’s degree thesis focused on the lore and use of psychedelic plants. Over years of research, Don Juan granted Castaneda access to magical realms of existence which expanded the academic’s understanding of consciousness and reality. Over time, Castaneda became his apprentice.

“Picture Don Juan”, I would say, “as a Western European alchemist and Castaneda as a photography professor. Imagine the alchemist as a magical character who reveals a hidden world of supernatural rituals, magical spells, arcane enchantments, and amiable spirits. Like in J. K. Rowling’s tales, Nicolas Flamel, Paracelsus, and Heinrich Cornelius Agrippa are important historical figures in this account. Meanwhile, photography is explored as foundational in the alchemist’s philosophy and practices. In this analogy, I’m like Castaneda and George Kingswood; this book's subject shares similarities with Don Juan”. 

It’s worth noting that a key difference in this correlation is that I’m not Kingswood’s apprentice. Additionally, I would like to clarify that my purpose isn’t to persuade readers to believe in or adopt Kingswood’s philosophy on alchemy or photography. I aim to present what I have learned about alchemy, George Kingswood, his ancestors, and an alchemist’s perspective on photography.

Over six years, I interviewed, observed, and learned from Kingswood, whom I will now refer to as GK. The self-proclaimed philosopher of spiritual alchemy spoke at length about his mystical experiences, knowledge, and traditions. He caught my attention when he explained how the invention of photography in the 1800s transformed his family’s path of spiritual alchemy. I had an academic curiosity about the mystique around alchemy, but having the opportunity to learn about this little-known, clandestine history of photography instantly excited me!

On one hand, the Kingswood lineage has always adhered to the laws, principles, and conventions of an ancient, ever-evolving alchemy. On the other hand, they rely on the contemporary art and science of photography as the framework to support their inner-transformative work. But, GK claimed, the Kingswood story starts before the mid-1800s. The origin of their alchemy dates back to the dawn of the universe. The alchemist talked about ancient Egypt, the rise in worship of the sun god Ra, the legendary mystic Hermes Trismegistus, and the emergence of claims about alchemical transmutation. For GK, this primordial history is inseparable from life and the lessons of his great-grandfather, Abraham Kingswood.

The late 19th-century patriarch experimented with ways to apply photography in his alchemical practice. Today, Abraham’s great-grandson GK is still applying those practices in the sanctuary of his home. He’s the fourth and final generation of Kingswood alchemists. Accordingly, one of this book's themes focuses on George Kingswood's life. It also records his family's mystical journey as they have climbed toward their highest spiritual aspirations over the last 140 years.

In this book, GK describes the Egyptian spiritual culture that prospered around Ra, their god of light. He explains the Kingswood family’s theory and practice of Hermetic magic. Their narrative could also be read as a philosophical treatise based on a search for ultimate truth. In total, this narrative spans a wide range of topics. Photographer Gerry Phillipson noted that this "book seems to range across the sum of human knowledge, collective and individual spiritual quest, in short it seems to endeavour to include absolutely everything” (from an email to the author, 7/16/23).

In addition to the story, GK intends the words on these pages to be a magical tool. He reveals that every printed copy is one end of a supernatural filament. Its opposite end connects the reader to GK and his predecessors. Through physical copies of this book, he intends to reach out to those desiring to surpass the limits of their creative expectations. He seeks readers who are creatives, artists, photographers, philosophers, and mystics. He is particularly interested in reaching spiritual seekers, believers, users of magic, and scholars of the occult arts. GK intends to interact with anyone curious about how to exceed their limited imagination. To those readers, GK extends an open hand of support. To accept the offer, one needs only to continue reading.