The exhibition Eyes, Lies and Illusions held at the Australian Centre for the Moving Image (ACMI) in Melbourne and the Hayward Gallery in London was a selection from the 20,000 optical toys, scientific instruments, antiquarian books and visual entertainments in the collection of Werner Nekes, the German experimental film maker. This article begins with a consideration of the historical trajectory of belief in the afterlife in relation to animation', the imputation of a soul to anything that appeared to move itself. The second section suggests that animation techniques bear witness to the persistence of atavistic beliefs in modernity.The third addresses the proximity of technology and magic in animation, and proposes a more extended use of the termanimation'.