Archive for acting

GOETIA GIRLS OF LILITH’S HAREM

Posted in Art, Chaos Magic, Comics, Dr Who, Film, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 16, 2016 by FAUSTUS CROW

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Artists often engage themselves in the ‘derangement’ of their senses in order to mutate their perception, to thence attain another inspired perspective. One example being Salvador Dali, who developed a surrealist technique of creative derangement, he termed as the paranoiac-critical method during the 1930’s. (The watercolour painting above depicts Mesphistophina. Click the image or here for further details.)

However, Dali’s paranoiac-critical method has been utilised by shamans for ages, whose psychonaut techniques of lucid dream inducement involved the creation of dream characters, a Tibetan Buddhist would term as being Tulpas.

I am aware that a number of dry scholars have pompously pointed out that the word Tulpa is a misinterpretation of the Tibetan term, Tulku, which is essentially a self-constructed Avatar. However, when assuming the alternate guise of a Tulku within a lucid dream, it is like that of an actor playing a part in a film, whose other supporting characters are Tulpas, who reflect back the assumed guise of a constructed Tulku.

For example, if you assume the Tulku guise of Vincent Price, you might just find yourself having a dream of being in a horror film, whose other actresses and actors are Tulpas. Why would you assume the guise of Vincent Price, you might ask? Well, it may be because you seek to empower your acting ability, should your profession be that of an actor; or to otherwise assume the guise of Austin Osman Spare, if you are an artist. Perhaps you might decide to fuse these influential personages together with Henry Miller, to thereby create a Tulku; and like a time-travelling Doctor Who writer would do, whose TARDIS brain to travel around the Succubae Decans of the Zodiac ages, you can also imaginatively assume the star-sign guise of Vincent van Gogh.

Should this sound rather ‘deranged’ to you, consider the intriguing experiments conducted by Vladimir Raikov who is a Russian psychotherapist, head of the Laboratory for Hypnosis at the State Scientific and Research Centre for Preventive Medicine. In general Raikov hypnotised his subjects to believe that they were the reincarnations of Rembrandt or Mozart, etc. Evidently after a period of doing this, his subjects brought back from their induced trance state the abilities of the personages with whom they had identified. For example, someone who had identified himself with Rembrandt had awakened his or her own artistic ability to eventually make a career out of Art; others may prefer to identify themselves with Aleister Crowley.

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“There is also a third kind of madness, which is possession by the ‘Muses,’ enters into a delicate and virgin soul, and there inspiring frenzy, awakens lyric….But he, who, not being inspired and having no touch of Madness in his soul, comes to the door and thinks he will get into the temple by the help of Art–he, I say, and his poetry are not admitted; the sane man is nowhere at all when he enters into rivalry with the Madman.”

― Plato, Phaedo

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If you consider all of this to be quite mad, keep in mind that children subconsciously learn from any influential role-models around them. Raikov’s technique is just an adaption of what children naturally do. However, the barriers of accumulated belief of an adult, blocks him or her from fluidly learning as a dreaming child. Hence, the beliefs of an adult requires the need to be broken down by believing that the assumed persona is a reincarnation, even if it is an artificially constructed Tulku, which could just as well be that of a future incarnation.

However, you do not need to be hypnotised by another individual, such can be potentially very dodgy; you can attain the same experience via lucid dreaming, which of dream Yoga, will enable you to assume a desired guise of a particular Tulku.

A Tibetan Buddhist would otherwise assume the Tulku guise of one of his many Buddhas via meditative and auto-hypnotic (trance) practices, in order to empower his spiritual progression. You will also find that each Buddha is depicted copulating with a female representing the power of a corresponding dream domain, who is termed as being Shakti, Carl Jung would call the ‘Anima.’

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The Anima can manifest as differing female characters, each of which can be seen to be a female Tulpa, who empowers a corresponding Tulku.

The female Tulpa can be ‘artistically’ constructed as a mind-doll means to empower lucid dreaming, which a Tibetan Tantric Buddhist would call a Dakini.

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Although the medieval mind-set of the West, a Dakini is otherwise called a Succubus, the prior ancient Greek’s knew as a Muse, who to remind that Art is Sorcery, Sorcery is Art, they are indivisible from each other, one and the same of shamanic practice.

When to see a Succubus as a constructed Tulpa, it is none too different to a computer program, like that of a web-bot browsing your informational dreams, which then initiates a virtual reality lucid dream, created by your quantum computing TARDIS brain.

The Succubus has lost its deeper meaning since the medieval mindset of the West has castigated sexuality and the feminine principle out of the spiritual equation, whereupon becoming purely demonic of hedonism, having no meaning whatsoever beyond that of blindly copulating.

The male counterpart of a Succubus is an Incubus, whose ‘Animus’ manifestations of God, Devil, angels and demons are commonly listed in many a Grimoire, who are known as Daka in Tibetan Buddhist dream Yoga practice.

The reasoning behind the focus upon a (Dakini) Succubus is that of introverting the sexual impulse in order to overcome what is technically termed as the Old Hag Syndrome, when accessing the hypnagogic state of trance, at the point of sleep. The hypnagogic state and the ensuing sleep paralysis can be quite terrifying, which of Bedroom Invader nightmare terrors can be otherwise transformed into a Night-Mare Succubus to ride into conscious dreaming.

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This can be achieved when the sexual impulse is introverted, via a prior meditation upon an erotic image of a particular Succubus, in order to negate the fear of the practitioner; for it is the reactive state of fear, which makes the experience of hypnagogic trance so horrifying.

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HORROR ACTRESS OF PSYCHOMAGIC

Posted in Art, Chaos Magic, Film, Goetia Girls, Lucid Dreaming, Sex Magic, Shamanism, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on June 4, 2015 by FAUSTUS CROW

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The Twenty-Second Succubus archetype of the Fallen Anima is Ipos, otherwise called Iposi. She is a Great Countess and a Mighty Princess and appears in the visionary form of a most beautiful and noble Woman.

She will speak of her ‘Lioness’ Objective, her ‘Goose’ of an Obstacle and that of her Hares ‘Method’ in regards to her Acting, for she is an Actress who can make her Director of a conjurer witty and bold.

But only when she to ride and be ridden by him upon the Casting Couch within those most Erotic lucid dreams she will induce after evoking her Succubus archetype of the Fallen Anima. She also knows of all things Past, Present and to come of Futures beckoning back. She Governs over Thirty-Six Legions of Anima archetypes likened to herself of Actresses.

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When a heterosexual male practitioner conjures Iposi, he can assume the alternate persona of a famous Actor within a lucid dream, which Iposi will empower. Those of other sexual orientations will change the gender of the archetype as required, who will note that the classical Playgirl grimoire depiction of Ipos is an archetype of the deified Animus made as a God and and a Devil.

What is required in order to achieve the assumption of an alternate persona is that you have to see yourself as a famous Actor, strutting the stage of life, between the entrance of birth, and the exit of death. This is engaged in of a prior active imagination exercise. You are essentially engaging in visualising yourself via your third eye of a camera, Acting within an inner film you are in turn directing as its Director.

Whereupon you first construct your character to Act out, by researching those successful Actors who you admire, in regards to their Acting abilities corresponding to your seven planetary sphere Chakras of emotional armoured seals to unseal, to thereby assume, as an archetype, ruling over one of the ten Cabbalistic domains.

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Iposi will then weave a corresponding lucid dream around you, which will then reflect back the assumption of your character, to Act out, with whom she is intimately engaged. Should your lucid dreams be intense enough, the dream experiences will then imprint your subconscious mind, and in turn your nervous system.

Your nervous system cannot tell the difference between a real or a vividly imagined experience; wherefore, an intensely experienced conjuration of the Succubus Iposi within a lucid dream will imprint your nervous system, whereby awakening your own Acting skills to come to conscious fruition.

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You can likewise utilise the character of a Director to assume, if you prefer; wherefore you see yourself directing a big budget movie, which in essence, is that of your own life story to thereby transform by your psycho-magic conjuration of Iposi.

Iposi will inform her Director of a conjurer in depth about the Stanislavski ‘system’ approach to Acting, which the author Carlos Castaneda otherwise termed as the ‘stalking’ procedures of a sorcerer, whereby Iposi fuses the two approaches together of exercise.

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The term of stalking is used in various different ways in Castaneda’s work. Castaneda uses stalking in reference to the warrior’s virtues as a sorcerer who has consummate forbearance and timing, which is a prerequisite for an Actor playing the part of an archetype.

Whereby you have the meaning of ‘Waiting for the Opening,’ which is implied by Castaneda’s understanding of stalking. This becomes quite clear within the context of confronting those ‘Petty Tyrants’ of your life to overcome; whether it be that of negative situations within society, to that of individuals who cause you grievance.

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The ensuing adversity facilitates the evolution of your personality and character,  if you become aware of its existence, betwixt and between the Ida and Pingala nerve channels of your Autonomic Nervous System.

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Stalking implies far more than a hunter’s skill and patience in relation to any external situation. The same, or similar approach can be taken towards that of the Internal predator of an addiction. You can deliberately irritate this part of yourself by not giving into its habits and demands. Your ‘predator’s mind’ becomes quite obvious under stress, whereby you stalk your own self in order to transform of symbolic alchemy.

Stalking is also used to describe Death, which constantly ‘stalks’ your awareness. Death as a predator stalks humanity, setting it up, and keeping all stressed, of highly reactive mode, whereby you are faced with constant new crises in order to stay one step ahead, which elicits a predictable emotional reaction from your animal self, stalked by a predator.

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The only release is to be within the ‘eternal moment’ to perceive death as your advisor, like that of a martial artist who is thereby not afraid of entering the stage of life’s gladiatorial arena in front of a mortal audience.

The Stanislavski ‘system’ of pre-Castaneda Sstalking procedures was developed by Constantin Stanislavski, a Russian Actor, Director, and Theatre administrator at the Moscow Art Theatre founded in 1897, around the same time that Karl Marx’s, Das Kapital was published, which made the workers to dance, the aristocracy to fear.

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Stanislavski’s system is the result of many years of intensive research, observations, and efforts to determine how a human being can control in their performance the most intangible and uncontrollable aspects of human behaviour, such as emotions, and artistic inspiration.

The most influential Acting teachers in America, including Lee Strasberg, Stella Adler, Harold Clurman, Robert Lewis, Sanford Meisner and Uta Hagen have all traced their pedigrees back to Stanislavsky, his theories, and that of his numerous disciples who ‘stalk’ their own selves upon a mirroring synchronicity.

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