SUCCUBUS GENIE BOTTLE OF A HAREM SCHOOL COMPUTER
Many would say that Austin Osman Spare had his career entirely the wrong way round, who began as a West End celebrity to then end up in an obscure South London basement. By the time Spare departed this materialist circus, back in 1956, he had been largely forgotten by the square brained art world. But since Spare’s demise, like many another dead artist earning shekels for collectors, he has become a legendary figure, not just for his remarkable art, but for his even more remarkable inner life as a twentieth century sorcerer and magical thinker.
Spare was ushered into this world in Smithfield during 1886; he was the son of a policeman, whose father walked the peeler beat where steampunk Jack the Ripper once stalked his prey. As for his son, he was hailed as a prodigy, genius, and all-round enfant terrible of the Edwardian art world. Spare was the youngest exhibitor at the 1904 Royal Academy exhibition, who went on to attend the Royal College of Art, where he dropped out without completing the course, and had his first West End show at the Bruton Gallery in 1907.
Some critics praised his artistry (“almost unrivalled”; “his management of line has not been equalled since the days of Aubrey Beardsley; his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors”); but others absolutely deplored Spare’s depicted visions, already seeing Spare’s work as being abnormal, pathological, and entartete kunst degenerate.
George Bernard Shaw is said to have remarked that Spare’s medicine was too strong for the normal man; yet said normal man of a sensitive morality, ended up amidst the horror of the WWI trenches. Although, controversial as he was, Spare was still the Darling of Mayfair. But this was not to last. Later Spare would be selling pictures in South London pubs, and advertising his ‘Surrealist Racing Forecast Cards’ through a small ad in the Exchange and Mart.
Spare’s work started to become far more stranger of grimoire vision, which for those of his hypocritical era could not handle, whose mindset still afflicts the present; this was usually in the main due to Spare’s work being highly erotic of content; whereas in hindsight, Spare’s artistry was of similarity to a proto-Dadaist and that of proto-Surrealism.
A number of Spare’s magical works, were primarily orientated towards triggering him into a lucid state within his vivid dreams. Some of his later creations were that of painting intricate sigils upon the screens of defunct television sets, which he had liberally gutted; such creations will be considered to be rather odd, to say the least, by those who do not understand what Spare was up to.
Spare utilised the symbolism of a television set as a means to trigger him into lucidity within his dreams, as well as accessing what a television represents, which of a temporal device, allows the observer to access information beyond him/herself. But, within the arena of the dream, the symbol of a television can trigger the dreamer to become lucid, whom can then access the television, like that of a stargate to travel through, when to tune it of a sigilised desire into other art gallery worlds.
Of course, the science fiction film of stargate had come out some years after Spare’s demise, but Spare had prior utilised similar symbolism concerning an everyday device of a television set, upon which many are collectively hypnotised by of an eye in their living room. However, Spare utilised it to mediate upon in order to initiate third-eye hypnagogic trance ingress into a lucid dream, where his sigilised television set is verily transformed into a vaginal stargate.
The television set was still somewhat of a technological innovation during Spare’s corporeal era, which has since been superseded by the usage of a computer.
When a computer is seen as a symbol, it can be easily equated to a Genie bottle, which also leads to a symbolic association with a grimoire listing spirits.
The computer has associations with alternate realities in regards to computer games and films. You also have the internet in relation to accessing information beyond yourself. Wherefore, the computer can be seen as a labyrinthine abode for spirits, you can otherwise see as salacious Succubae.
Should you utilise the symbolism of a computer as a dream trigger, you could see the existence of the Succubae as being akin to that of sentient software (Tulpa) programs, whom exist within a virtual reality. Said virtual reality can then be equated with the informational realm of the symbolic dream.
You could even associate the symbolism of a the computer with a Harem school of seven planetary spheres, which is further equated with a Genie bottle, of a trigger symbol within the dream.
The Succubae can then be seen as Virtual Girls, whose abode is that of a computer, which is their Harem school of a Genie bottle. You then have a sorcerer conjuring Succubae out of his Genie bottle of a grimoire computer when to become consciously aware within a virtual reality lucid dream.
As for sigilising your computer, such is not necessary of a meditation aid; for you can otherwise artistically create an appropriate two-dimensional sigilic wallpaper and that of a Succubae screensaver for your Genie bottle of a grimoire computer, which when meditated upon Spare style, will initiate hypnagogic trance ingress into your associative dreams of three-dimensional artistry; when to do so, you will attain an artistic insight into what Spare was up to as a sorcerer.