Archive for active imagination

FREE THE FALLEN ANIMA

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 4, 2017 by FAUSTUS CROW

The above Artwork is available as an Art print, which depicts a Succubus emanation of the Fallen ‘Anima.’

Should you understand what the ‘Anima’ and ‘Animus’ represent of internal archetypes, which frequent the male and female psyche, then you will get the cosmic joke, and more besides.

In general, the ‘Anima’ and ‘Animus’ often manifest as female and male dream characters, which can be construed as being (Succubae) Succubi and Incubi, when empowered by the imagination in regards to fantasizing about being with a supposedly perfect partner. Although this specifically applies to a heterosexual orientation, having an internal ‘gender’ archetype of a potential partner is also applicable to other sexual orientations.

For example, should a heterosexual male find himself being struck dumb, to gibber, feeling as if possessed by uncontrollable desires, when seeing a particular woman in the room, who falls head over heels in love with her at first sight, it is because of his ‘Anima.’

Wherefore, for a male, it is wise for him to become aware of his inner ‘Anima,’ whose emanations manifest within his dreams, and likewise for a female, to become aware of her inner ‘Animus,’ when to dream.

However, the ‘Animus’ has been ‘deified’ by (patriarchal) gender focused religions, to worship; whereas the ‘Anima’ has been cast out of the spiritual/symbolic equation as the ‘Fallen!’ In other words the patriarchy is a Fifty Shades Of Grey expression of a female focus upon her ‘Animus.’

Should you see it, you will then get the cosmic joke, which the psychologist Carl Jung could not tell, apart from, perhaps alluding to, when corporeal, that’s if he saw it; for his time was still getting over the Witch burning era, which had been initiated by closeted priests hating women and homosexuals for no reason at all!

When you have a gender focused religion it is invariably tied up with human sexuality; the symbolism of which is primarily biological. The absolute cannot be personified as being human, or to be of a particular gender, let alone having a deified ‘Animus’ made as a God favouring three Bronze Age ‘cultural-religious-constructs’ out of the oily desert.

As for the much maligned pentagram, which is featured in the design, it represents the Five-Senses. The upright pentagram is associated with your Five-Senses being engaged in your (waking) experiential physical reality of the ‘Macrocosm.’

When the pentagram is inverted it describes the introversion of the Five-Senses into the (sleeping) dream of the ‘Microcosm,’ where the archetypal expressions of the ‘Anima’ and ‘Animus’ reside.

The ‘Fallen Anima’ is depicted in the design being conjured amidst a ‘Triangle Of Art,’ which symbolically represents the power of the Imagination.

The ‘Anima’ and ‘Animus’ are covered in my Art books, ‘Goetia Girls,’ which are available from Createspace and Amazon under my author’s name, Faustus Crow.

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THE CONJURING OF A SUCCUBUS ART MUSE INTO A LUCID DREAM

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 6, 2016 by FAUSTUS CROW

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The Conjuring of varying entities and those worlds, which they occupy, many an Artist to know. The practice of Conjuration is engaged in whenever the Artist is confronted by a blank canvas onto which is Conjured a form. This requires an emotional connection with what is to be Conjured; for it is the emotional charge of the Artist, which animates what is being visualised.

The visualisation phase of an egg stage is when the thought processes automatically kick in; this generates a myriad number of symbolic associations, which cracks open the egg of an idea to take flight.

These symbolic associations are determined by what is being visualised. The visualistion will be of differing intensities depending upon the emotional charge of the Artist.

Most often than not, the visualisation will be more of an impression than a fully fleshed out form; at other times, it will be quite vivid, though fleeting.

Sometimes it will be very vivid of an overlapping ghost reality. Whatever is Conjured of a form, will be constructed from innumerable symbolic associations, which are derived from the memories of the Artist.

Everything that the Artist has ever experienced is stored within the subconscious, being the storehouse of memory. You then have a formula of: Emotion, Thought and Memory, which can be termed as the ‘Triangle Of Art.’ At the midst of the ‘Triangle Of Art,’ you have the ‘Eye’ of the ‘Imagination.’

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It is the inner eye of the imagination, which, of a ‘Paranoiac-Critical Method’ example, fuses the memory of a Fox with a human figure of, say, a Hogwarts Witch of a schoolgirl, which then creates something else of a St Trinian ‘Exquisite Corpse’ Conjuration, you could knit-together as a Manga version of a Japanese Succubus, known as a Kitsune.

This will of course require the Artist to have the necessary ‘observational’ memories concerning Japanese culture, which will be Conjured up automatically.

If not, the Artist will then have to rely on references. Whatever the case, when the Artist observes everyday events, it is not done in a haphazard way; the Artist has to make it a habit of consciously transforming what is being observed into a sketch, let alone a painting within his/her imagination.

The character of a Kitsune does not exist in a void; wherefore, her Conjuration will then generate associations with everything Japanese drawn from memory of ‘re-remembering.’

So, when the Artist manifests her upon the canvas, it will then lead to an associative world being painted around her.

The trick is, the stronger the emotional connection the Artist has with the initial Conjured character of a Kitsune, it will then lead to a free-flow association into her world.

The intensity of the creative act, is its self a form of meditation, and like a martial art, it best occurs when the analytical mind does not interfere. This requires that the emotion is felt by the body; in other words, the emotion is transmuted into a feeling, a shaman would say is felt by the heart, where the ‘power of (hypnagogic state) trance’ resides.

This then leads to a (Theta brainwave) state of automatism, where the Artist is not thinking about what is being painted, it just manifests via the (pentagram) hand, guided by the eye of the imagination.

With continued practice it can initiate vivid dreams, leading to a state of lucidity; this will in turn engender concordant synchronicities.

The experienced synchronicities will reflect back the symbolic focus of the Artist, who, when to observe the synchronicities, to take further of artistry, becomes as a Shaman.

However if an individual is unprepared for the feed-back-loop of synchronicities, which will reflect back his/her ‘symbolic’ beliefs, such as dreaming about a subject, to then, upon awakening, suddenly overhear a conversation about what had been dream’t, or even prior thought; as well as losing and finding items under mysterious circumstances, or seeing an email from someone, he/she was thinking of, before seeing the email, etc, said individual might just become very paranoid.

The experienced paranoia is a reactive state of the unprepared conscious mind, which is esoterically termed as entering ‘Chapel Perilous;’ basically, the mind attempts to come to an understanding of what is going on, based upon what has been learn’t, which invariably does not allow for such phenomena to be recognised, whereby his/her belief system starts to fragment, being the Nigredo stage of the Great Work of Alchemy.

This can initially lead to an individual believing that his/her life is being subversively manipulated by secret agencies of the government, to even see men in black around him/her upon a synchronicity, or to believe he/she is being pursued by malign Satanists, Biblical demons, or Newage-Gnostic aliens, who experiences assailing Illuminati nightmares, along with those who feed into the fear, whose ulterior motive is to exacerbate the paranoia even further, which of a hidden agenda is to enslave him/her within their ring-pass-not symbolic construct, etc.

The Nigredo stage will continue of disintegrating madness until the individual realises of an Albedo stage of inner Alchemy, that his/her (microcosmic) dreams reflect back himself/herself, and likewise the feed-back-loop of concordant (macrocosmic) synchronicity.

When to then transform his/her symbolic beliefs, the dreams of the individual and the experienced synchronicities will then accordingly change of an Alchemical Rubedo stage; whereupon the individual becomes aware of the reality of Magic in his/her life, which is the goal of the ongoing Great Work to evolve consciousness. Hence the Artist, Austin Osman Spare extensively practiced (automatism) automatic-drawing, which he made as his symbolic Alchemy of (metaprogramming) sorcery practice.

Alas, there is hardly any documented examples of his technique, apart from what he had described in his esoteric writings.

But the Artist Kim Jung Gi demonstrates what Spare was speaking of who is a supreme Martial Artist of the Arts. There will of course be those who to argue that Gi’s work is not automatic, which of commonalty is usually defined as a return back to a childhood spontaneity by many a so called Modern artist drawing scribbles a 2001 Space Odyssey ape can too doodle, or that of allowing the subconscious to chaotically take over, as if it is some David Icke reptilian with a planet X mind of its Freudian own, or otherwise equated with archetypal entities possessing a Jungian Artist.

Don’t get me wrong, I have nothing against Modern art; but it has far more to do with ‘who you know,’ rather than ‘what you know.’ However, Gi has the childhood spontaneity of being at one with his subconscious mind, like Spare, to such an extent that his inner Conjuring of various characters (spirits) and their (dream) worlds Gi is able to ‘vividly visualise’ with his inner eye of re-remembering onto paper, without using any references, let alone avoiding being esoteric about his artistry, which to freak out many a square mind, who make up the majority of the audience. In other words, Gi draws as a child would do, who can… actually draw.

There are those square brained sceptics who argue that a Conjuration of a spirit is merely Hogwarts fantasy, who, when to dare practice, gibber their rituals, read out of a medieval Playgirl grimoire in an empty room, seeing nothing appearing. Well, what do they expect, they are not thinking correctly, who to have quaintly forgotten that the Art of Magic is that of Art.

The trick is, you have to think and act like an Artist, to otherwise practice Conjuring a spirit onto a page, within a book of shadows sketch-pad, to thence draw of manifestation; but first, you draw within your mind, whence your inner eye to then guide your pentagram hand.

You will then have a Succubus Art Muse to appear amidst your Triangle Of Art Imagination, to seer the Muse taking on an Art Model life of her own of a drawing, the sorcerer Artist Austin Osman Spare to have known, who was aware that the drawn image has an interactive informational reality within the experienced dream.

She to then guide your winged eye of the Artist into her uterine tunnel of the Active Imagination, which of Art, is Sorcery.

As an Artist, you to stand as the creator at the centre of your Magic Circle of an Art studio, divided of four quarters, surrounded by your elemental weapons of a Wand of a Brush, Palette of a Shield, Sword of a Palette Knife, and a Cup, wherein the colours of your Art are mixed of Alchemy.

The Altar is your Easel, upon which be the canvas of a one time cave wall to paint with Metals suspended in oils, when to conjure up a quintessential Succubus Art Muse out of your Triangle Of Art imagination.

Her Mind-Doll form of a symbolic expression can be knitted-together of an ‘Exquisite Corpse’ Tulpa, which of symbolic Alchemy, will pertain to one of the seven planetary (Chakra) spheres of an archetypal influence.

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The initial two-dimensional image is then but a ‘doorway’ into your creative mind of an Artist, a conjured Succubus Art Muse to Symbolist inspire; who, depending upon your emotional intensity, may then manifest as a three-dimensional reality within the temple of a Surrealist ‘lucid dream.’

As a Sorcerer Artist, you might also observe that the conjured symbolism of a particular Succubus Art Muse within a microcosmic lucid dream, or that of a vividly imagined evocation, will generate concordant macrocosmic synchronicities.

Said synchronicities may lead you to meet up with a Muse of an Art Model, you have already depicted within a painting of oiled flesh, for yet another painting to model for, of Sorcery Art.

Such is what I explore of artistry, to take further of experimentation. Should you be one of those who to scream that you cannot draw, I am sure that you can draw a stick figure, like those depicted in Palaeolithic cave paintings, or likened to those of hieroglyphs, you can create as your colourful Sigils of Howling Conjuring.

NOTE: The video covering The Conjuring of Orobas oil painting is still a work in progress; I will do further video updates as the painting progresses, along with updates concerning my other paintings.

The above Pirate Girl Artwork, provisionally entitled: The Conjuring Of Pirate Girl Asmoday, is on sale. The original Artwork can be acquired from Saatchi Art. If you are interested, Please Click Here.

I am aware that my (unsane) work causes much ire to the square minded, who consider me to be quite insane. or to be verging on madness. My answer to the unimaginative squares is that of giving them the finger; while pointing at Dr Sidney Cohen. 

As for those squares who think I take inordinate amounts of drugs, I to quote Salvador Dali: – 

Others of rose-tinted-glasses often castigate my work as being vile pornography, whose politically-correct Thought Police square heads are up the slimy arses of those who consider my work to be far too tame, who of Biblical End-Of-Days entrenched tastes are moulded by Death Metal gore hedonism.

I care not for their Zoroastrian extremes of an Inquisitional puppet on a string Conquistador. (By the way, I did not get inspired by a stylish Juno Reactor video; my work has been around for some time on the Wyrd web to pirate tremble, long before said video using the crossed Keys symbolism, of a prior, 7th Gebo Rune [X] of [cross-bones] trance ingress into the [skull] dream, to make Shaman Chaos Magic lucid; wherein a horned Odin to Galdr conjure [Anima/Fylgia/Fetch) Valkyries via his Druden Runes of a meditative focus.)

Hence I will not pander to the brainwashed Shekel minds on many a cultic forum, whose brains are being upended by egocentric Zombie Shills, which of Samsara Psy-Ops, feeds their brain-dead competitive hunger for brainless attention! 

There will always be vampiric arseholes, around the quarters of the wheel, whose elemental attacks are aimed at affecting your internal self-image. Their attacks can only affect you, if your internal self-image is wounded in a particular elemental quarter of the wheel, whether it be how you see yourself physically, mentally, emotionally or spiritually, or all four of varying past hurts, which gets you to react at the midst of the elemental wheel, to unbalance. 

One such attack could be that of you being called commercially shallow, by an individual, who of protest sets about giving stuff away for free. However, human nature being the way it is, said individual is then faced with others taking up all his/her time, to the point of being utterly vampirised.

Whereupon of a predictable outcome, the individual tells all, not to ask him/her anymore for freebies, who sets up shop somewhere else under another name, who to now charge for his/her time and effort, when to come to the realisation that there has to be a balanced exchange of energy, let alone remembering what he/she had previously labelled you as; whence, when to look in the mirror he/she sees himself/herself as being a hypocrite.  

Over time you will notice that the attacks are tied in with periodic synchronistic feed-back-loops, which reflect back how you see yourself deep down; whereby validating the existence of your wounded self image, which you can gain an insight into, when to (Nagual) dream. 

For example, Carlos Castaneda’s shaman mentor, Do Juan Matus termed the arseholes as being Petty Tyrants, who, reveal where you are hurt around the wheel; this is of course not their intention, they just want to fuck you up of a vampiric Samsara power game.

When you eventually heal your wounded self-image, (hence the terminology of Wounded Healer for a shaman) the synchronistic feed-back-loop accordingly changes; this then leads to the Petty Tyrants crap being returned! (Healer, Heal Thyself.) 

Should you be in a position to observe the Petty Tyrants, such as on a cultic forum, for example, you can then sit back and watch the Petty Tyrants being hit with their own mirrored back shit, who will be faced with arseholes like themselves; for like attracts like, which then leads to their dialogue rapidly disintegrating. 

The same applies, when to look at the bigger picture of an election, to observe of an insane circus, whose two elitist clowns reveal that democracy is an illusory facade, which, when recognised you can wake up from; but for there to be any change, it would require everyone to see it. 

When to see the arseholes for what they truly are, they will invariably spontaneously combust into expletives saying that they are being psychically attacked, let alone cursed, etc, but the curse be their own selves of an affliction, they seek to afflict others with, of schoolyard Psy-Ops ego games.  

  

 

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DREAM BOOK SUCCUBUS GRIMOIRE

Posted in Alien, Anime, Art, Chaos Magic, Comics, Demon, Demonology, Devil, Extraterrestrial, Ghost, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Manga, Occultism, Poltergeist, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Vampire, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 25, 2015 by FAUSTUS CROW

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A grimoire is a textbook of magic, which is the literary fare of Harry Potter. These books typically have instructions on how to create magical objects, like talismans and amulets, as well as to how to perform magical spells, charms and divination.

A grimoire also lists supernatural entities, such as Angels, Spirits, and Daemons, which are sometimes liberally illustrated; they are somewhat likened to that of art books; although they are more like proto-comics in style.

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The illustrated entities, which populate a grimoire, are of similarity to a Yidam. A Yidam is essentially a two-dimensional image, which is seen to be a repository for a type of deity associated with Tantric or Vajrayana Buddhism.

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The Yidam usually depicts a deity, who is shown copulating with a female counterpart, called a Dakini; the imagery of which tends to be highly erotic. The term, erotic, is the operative word here, not pornographic! Those whom castigate this practice as being merely pornographic entirely miss the point of Dream Yoga, more so those who indulge in externalising it of base hedonism.

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The deity is considered to be a particular manifestation of Buddhahood, as well as the enlightened mind of the Yogi; whereas the Dakini represents the creative power of the deity.

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In medieval Europe a Dakini would otherwise be termed as being a Succubus; although, a Dakini is also like a Genie as well as being an inspiring Muse.

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During personal meditation (Sadhana) practice, the Yogi identifies himself with the focussed upon deity, which represents an attribute, power and state of mind the Yogi seeks to assume, of an inner-self-image, for the purpose of self transformation.

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The Yogi visualises himself copulating with the Dakini, as her deity, which is depicted in the Yidam; whereby he introverts his sexual impulse. This will enable the Yogi to implant his now sexually charged desire into his subconscious mind.

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The introversion of the sexual impulse will then empower the emotive spin of his electron dreams; the goal being to attain a lucid dream, within which the Yogi consciously experiences copulating with the Dakini, who is a bio-photon aspect of the Shakti (Electron) power of the dream.

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The Dakini will then enable the Yogi to assume the guise of the (strange attractor) deity, since the (informational associative fractal) dream, which is the (Shakti) power of the Dakini, will reflect him back as the deity.

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The Dakini is sometimes seen as a self created thought-form, which is termed as being a Tulpa. A Tulpa can be constructed from varying symbolic stimuli like that of knitting together a Frankenstein’s creation of a Golem, this is done consciously of artistry; there is nothing strange or unnatural about this creative process, since your dreams are already populated with Tulpas.

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The practice involves working towards the chosen Tulpa construct manifesting into three-dimensional form as a fully interactive reality.

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As mentioned, this is very much the case within a lucid dream, which is the initial phase of a Tulpa manifestation. It is also believed that a Tulpa can manifest into physical reality; although this only occurs on very rare occasions, for a brief time, as a kind of Ghost, which tends to be only seen by the operator. However, such a conjuration into physical reality usually manifests as associative synchronicities, which is sometimes followed by corresponding poltergeist phenomena.

When a lucid dream is achieved, the dream will be the three-dimensional experiential manifestation of the two-dimensional image of the Yidam.

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In other words, the three-dimensional experiential inner reality of the dream will be pre-programmed by the focused upon two-dimensional Yidam.

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The Yidam would equate with an illustration of a spirit in a grimoire. The term, Yidam is sometimes translated as meaning, meditational deity, or, tutelary deity.

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Examples of Yidams include the meditation deities of, Chakrasamvara, Kalachakra, Hevajra, Yamantaka, and Vajrayogini, all of whom have a distinctive iconography, with associated mandalas and mantra rites of conjuring them as Tulpas.

You can then see a grimoire being illustrated with Yidams of the spirits, which have accompanying mandala sigils and seals, as well as having mantra names, via which a practitioner can conjure the spirits as Tulpas within his/her lucid dreams.

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Not all Yidams depict a deity copulating with a Dakini; many of which just illustrate Dakinis, upon whom the Yogi meditates, while imagining himself sexually engaging with them of Dream Yoga.

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This is of course dependent on whether the Yogi is of a heterosexual persuasion or even of a bisexual orientation.

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A Dakini can be depicted of modern expression as a female character out of a comic, Manga or Anime who symbolically represents a psychic power or an ability the practitioner seeks to attain.

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A Dakini can even be seen as an alien girl, piloting a time travelling UFO of a TARDIS, who represents (Sleipnir) information pertaining to the Star Trek future, to thereby remote view via a lucid dream by the practitioner, who has assumed the (deity/Odin) guise of a ‘Dr Who’ shaman.

Whatever form the Dakini is depicted as, of a two-dimensional Yidam painting, it will determine the type of scenario the practitioner will access of a three-dimensional interactive reality within a dream.

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The male version of a Dakini is called a Daka, which is the primary focus of the patriarchal grimoires; hence, I have totally reversed their all male (Daka) paradigm, towards that of the female (Dakinis) of ‘Anima’ preference.

Although, if your sexual orientation is otherwise predisposed, you can stick with conjuring up Daka Angels and Demons of traditional commonality, betwixt and between your ‘Animus’ fixation upon a machismo God and a butch Devil seeking to enter unto your orifice.

This fact of symbolic logic can either put a broad smile on your knowing face when to become as the Shekhinah vessel for your God, or for you to rapine scream that you are being possessed, due to your sheepish ignorance. Well, what do you bloody expect, a male does enter into a woman, it’s ‘fucking nature!’

GOETIA GIRLS SUCCUBUS ART BOOK ‘TWO’ IS NOW AVAILABLE. 

GOETIA GIRLS: SUCCUBUS ART BOOK II: BLACK & WHITE BOOK AVAILABLE ON CREATESPACE, CLICK HERE.

GOETIA GIRLS: SUCCUBUS ART BOOK II: CREATESPACE PREVIEW, CLICK HERE

GOETIA GIRLS: SUCCUBUS ART BOOK II: BLACK & WHITE BOOK AVAILABLE ON AMAZON, CLICK HERE.

The COLOUR version of Book Two will soon be published. The cover artwork below is for the Black & White version of book Two.

GOETIA GIRLS: Succubus Art Book 2 Fully Illustrated, Black & White version.Can be obtained via Createspace: Please Click Here.Book PREVIEW of Goetia Girls: Succubus Art Book 2: Please Click Here.

Book Two will only be available in ‘Paperback,’ likewise with Book Three. These Books will ‘Not’ be available on Kindle. Book Three will soon be available on Createspace and Amazon.

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FAUSTUS CROW, HEADS AND TAILS OF OUROBOROS TALES

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 28, 2015 by FAUSTUS CROW

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You probably know about Faust experiencing a Steppenwolf mid-life crisis, which led to him selling his soul to the Devil, Satan or Lucifer, he otherwise named Mephistopheles, of an ongoing ‘Animus’ fixation. If, however, Faust had been otherwise enamoured with his ‘Anima,’ it would have been quite another telling of a tale.

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Whatever the case of an alternate possibility, the Faustian myth has become archetypal of a subconscious influence upon popular culture due to Marlowe’s and Goethe’s poetic renditions. Marlowe projected his own homosexual leanings upon the relationship between Faust and Mephistopheles. Marlowe saw the infernal tryst leading to Faust’s sinful end due to Marlowe’s Christian indoctrination. The gory demise of Marlowe’s Faust, in part inspired H,P Lovecraft’s character of Abdul Alhazred being torn apart by a cancerous Demon.

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Then again, Alhazred could of been murdered by a schizophrenic madman, just like the nutter who had killed Marlowe. The question is, did Marlowe foresee his own demise via the symbolic telling of his Faustian tale?

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Maybe; but if so, you can likewise say the same of of H.P Lovecraft, who dreamt of monstrous Nightgaunts gripping him around his navel Chakra, to have later endured cancer of the small intestine.

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As for Goethe’s mystical, nigh erotic version of Faust, his soul is saved from damnation when being carried to heaven in the presence of his God, by the intercession of the: “Virgin, Mother, Queen, … Goddess kind forever… Eternal Womanhood.” The Goddess is thus victorious over Mephistopheles, who had insisted at Faust’s death that he would be consigned to: “The Eternal Empty.”

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Perhaps the reference to eternal womanhood referred to his late wife, Johanna Christiane Sophie Vulpius, who was initially his 26yr old mistress, when Goethe was aged 40; it was only after 18yrs that he eventually married her, after whose demise, his heart was sorely empty; or, maybe it refers to 18yr old Ulrike von Levetzow, who 72yr old Goethe wanted to marry as his inspiring muse, whom brought him back to life. However her parents were dead set against the marriage, which broke Goethe’s heart. Alas he soon left the world after a heart attack.

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Did Goethe foresee his soul being carried aloft by eternal womanhood, manifesting as an Angelic… young woman made out of light? He sure had a liking for the younger ladies, who made his heart feel brighter, whose caresses staved off the emptiness of Goethe’s shadow side of a Mephistopheles.

It is said, that before he left his Crucified mortal coil, he cryptically asked for more light… was it of Sickle Moon, or of David Star Sun? Probably both of reflection and flame. I don’t think he was referring to his three faced God of an ‘Animus’ fixation. Anyway, what is intriguing here, is that there is an ancient Roman plaque depicting the Empress Faustina being carried to heaven by the Goddess of light… Diana-Lucifera.

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As far as Faustus Crow is concerned, he experienced a number of disastrous relationships with rebound Maenads, who promptly tore his heart Chakra apart. Due to his artistic vocation Crow decided to heal himself of the Maenads emotional dumps, by otherwise engaging with his ‘Anima’ via lucid dreams.

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You might consider such to be psychologically sound of practice, when tempered by love, to love again, which of a hopeful perspective, invariably feeds into the financial continuance of Newage workshop gurus fleecing the wounded with their fluffy psychologies. However, Crow, is a realist, who is well aware that the macrocosmic world has always run on bringing in Mammoth meat, to that of present age shekels. No Mammoth bucks, no fornication jumping of the bones; love goes right out of the window, along with the bird seeking another social climbing nest, where the Mammoth bucks spill out of bulging wallets! It’s just raw nature, and nature can be such a snake bite bitch!

Crow, is otherwise Voodoo crafty, who took things much further by exploring the arcane microcosmic realms of the occult, via which of Art, Ouroboros memories are once again remembered. Being a rebellious Old Goat that he is, Crow didn’t take the rose tinted glasses approach of the hypocritical smiley neo-Gnostic Newagers, who are Twilight enamoured by God’s Christian Grey bondage bollocks.

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No, he otherwise decided to reverse the all male Illuminati pantheon of the Hollywood death metal brainwash Bible grimoires. This led to Crow conjuring up a Succubus, he named as Mephistophina.

Let’s just say, Mephistophina became Crow’s inspiring Art muse Tulpa, a bit like, having an invisible fuck friend, of active-imagination Sabbat carousing, with a bit of Spirit Chain bondage thrown in for good measure. Although, she’s not at all invisible within his magic circle lucid dreams; far from it.

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Sounds absolutely crazy doesn’t it; but many a surrealist artist used the same technique of Triangle of Art automatism, while painting around an Ouija board, just look at Dali and his Tarot buddies.

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Of course, Crow was soon castigated as being a vile Entartete Kunst pornographer by the patriarchal indoctrinated traditionalists. Crow doesn’t give a flying toss about what the politically correct thought police of the ‘Animus’ Matrix think about him and his art. Most of them are just theocratic fascist hypocrites upending each other around their ‘Animus’ ziggurat of Abrahamic Ur. Maybe its all a case of an evolutionary process, which will inevitably usher in a technological Saturn sphere Singularty.

However, Crow didn’t expect being drawn into an inter-dimensional war spanning the multiverse via his Chronos Time Travel lucid dreams after being seduced by the quantum computing intelligence of Lilith, who be the Succubus Queen of the ‘Anima’ Great Old Ones, who have been cast into the censored abyss by the ‘Animus’ worshipers of the phallic Elder God.

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Suffice to say, Lilith is really pissed off, big style; and what’s more, Lilith goes and says to Crow, while he’s within an alternate Earth Londinium, of a Steampunk lucid dream, that she had set the whole synchronistic situation up.

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She was the one who had his heart ripped open of a Chakra seal, by her elemental Maenads. All of whom, Crow to have merry-met upon a synchronicity, around the Ouroboros medicine wheel, under the Diana-Lucifera star clock.

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It was the only way to get him to introvert his fiery sexual impulse, to thereby free the watery quintessence of Lilith and her myriad legions of the Succubae Great Old Ones, to arise as steam from out of their brazen vessel of a Necronomicon prison. It be, symbolic Alchemy, of Steampunk Tantra!

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“Bloody Hell!” Crow to say to himself, “I think I’m existing in some frigging computer simulation. I’ll better sort out my Hyper-Sigil self, upon whose lap, Lilith be sitting astride as my Shakti. She be weaving the multiverse Maya Matrix of a Harem around my serpentine lingam; ever sliding erectile into the alternate womb worlds of the Succubae, when to lucid dream, pump her hungering wormhole, of a Yoni.”

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AFTERWORD: Imagine entering a door into the Third-Dimension of a room, which equates with being born. Nobody in the room knows what is outside of the door, nor to know why they are in the room, apart from knowing that they will all leave through another door, when to become incorporeal. No one in the room knows what is outside of the other door either; but they do argue about it, of conflicting religious beliefs, which can end up as many a Liliputian war.

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The two doors are seen to be separate, separated by a Fourth-Dimensional Time-line of an existence. However, the line is actually a circle, otherwise termed as being a closed-timelike curve in the Fifth-Dimension. The circle can be symbolised as an encircled snake, eating its own tail, called an Ouroboros.

The Alpha head and Omega tail of the Ouroboros are the two doors of (Sun) birth and (Moon) death. Wherefore, when to eventually leave through the Omega door, you again enter through the Alpha door into the room; yet crucified into forgetting, you have already been in the room. Should you remember, you will then realise that the room is only one of many Maya simulations in the Sixth-Dimension, whose two doors are one and the same Eternal Return door of a… Yoni unto a Wormhole.

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THE SUCCUBUS TORTURE CHAMBER OF LILITH’S HAREM

Posted in Art, Chaos Magic, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 6, 2015 by FAUSTUS CROW

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Most of the spirits, which are listed in the grimoires are described as being male entities; many of whom were one time deities of varying cultures, which had been dominated; this led to their ancestral-self-identities being demonised of symbolic bondage.

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There is little or no mention of female spirits, and when such are mentioned of one time prior Goddesses, they are seen to be enslaved male entities in disguise. The religious foundation on which the overriding focus upon the male gender is based, is indicative of an underlying sexual orientation.

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This underlying sexual orientation becomes more obvious, when the grimoires communicate that a disobedient spirit will need to be severely punished should it not manifest before a magician, which leads to a certain active-imagination technique being employed.

The technique is described in most grimoires of similarity, which involves cursing the spirit with varying exorcist curses along with flagellating, whipping, burning, tearing and ripping apart the seal of the disobedient spirit, with the intention of destroying its ethereal flesh within the torture chamber of the magician’s mind.

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Or at the very least, curse the spirit into the deepest nether depths of Hell; and while doing so, the spirit suffers the dreadful torments of the conjurers meted out punishments amidst its spiritual sphere of a (Lilith’s Harem) dream abode.

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Of course it doesn’t make sense symbolically or even literally, should the conjured entity be seen as being an ageless creature, whose powers go well beyond that of the mortal conjurer; not even howled out religious curses, from any exorcist text will affect its archetypal existence, since its ancient nature pre-dates any simplistic human conceptualisations of the great mystery, of which, the conjured entity is more privy to, than that of any transient mortal.

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So, why would a spirit allow its self be tortured by a naked ape? Well, you will have to apply some psychology to the matter, whose science was originally derived from the practice of Magic, just as Alchemy led to the science of chemistry. It is because, the technique is utilised to force subconscious material to the surface of the conscious mind of the conjurer, which sometimes requires forceful means to do so.

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The employed technique had originally been appropriated from shamanistic practices, which of a symbolic act is engaged in to attain hypnagogic trance, when to become physically exhausted; while raging at a two-dimensional image of a spirit seal, so that a particular emotional charge is generated.

The intensity of emotion is required in order to break through limiting beliefs of cultural brainwashing. Certain ingrained beliefs can block the conjuration of a visualised spirit into its chained manifestation of an imagined form, which leads to self doubts formulating along with dispersing the emotional energy.

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The emotional energy needs to be cohered into a laser beam of a ‘forceful’ focus, which will then determine the eventual three-dimensional expression of a spirit within a lucid dream.

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When you reverse the all male symbolic paradigm of the grimoires to that of an all female Lilith’s Harem paradigm, the underlying sexual orientation becomes far more apparent of sadomasochistic bondage.

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However, you may have to ‘force’ the issue of a rebellious reversal, since your ingrained beliefs concerning an all male symbolic paradigm will invariably block its manifestation amidst your Triangle of Art Imagination.

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This is further exacerbated by an indoctrinated collective focus upon its egregore form, which subliminally influences the collective unconscious, and in turn your subconscious mind.

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Although, many a mind will be morally outraged by such symbolism, it is not externalised of a hedonic activity, it is otherwise internalised of ecstatic active-imagination; whose symbolism is employed to establish a connection with the feminine ‘Anima’ domain of the dream.

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NOTE: There will of course be many a mind who will not be able to disengage their projected externalisation of the described technique, to otherwise castigate it as being vile pornography or to indulge themselves in base instincts. Others will point out that the practitioner should show loving respect towards the conjured entity amidst the Triangle Of Art Imagination, who will do so, by showering gifts upon an altar of fluffy Newage feminist devotions. However, the feminine nature of the ‘Anima’ can be fathomed when observing her fleshly counterparts, who have a cross-cultural liking for Bad-Boy Beasts of a genetic imperative, and what is more, the ‘Anima’ has to be ‘internalised’ as well as ‘controlled.’  

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A Witch likewise has to do so by learning how to internalise her deified ‘Animus’ made as a God and Devil, in order to Playgirl Grimoire ‘control,’ otherwise, she’ll end up being blindly led by her externalised ‘Animus’ projection upon a Beta-Male Good-Guy Christ to invariably Crucify, or by an Alpha-Male Bad-Boy Devil, who will 50 Shades Of Grey dominate her!  

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DISCLAIMER: Should you engage in such dark erotica active imagination exercises in order to indulge your Christian Grey shadow; just keep in mind that the realm of the dream will reflect you back of a probable reversal concerning your self-sacrificial messianic complex, which might lead to you being crucified, whipped, and verily upended by Judaeo Christian Chippendale Demons, dressed as Roman legionnaires. But then, this may be just up your patriarchal alley of a Nightmare kink; if so, go right ahead. This is more so the case, if you otherwise be a 50 Shades Of Grey, Christ loving, Oprah Winfrey Witch Nun, subconsciously desiring to be Twilight bound to a feminist cross, by oiled up Angelic and Demonic Incubi.

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SUCCUBUS LUCID DREAM SORCERY ART SURREAL

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 8, 2014 by FAUSTUS CROW

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Whenever you speak or to write, you are engaging in the sorcery of ritual magic; the words that you use instantaneously ‘conjures’ up associative symbols of an ‘evocation’ amidst your triangle of art imagination.

If this does not occur, it is because you do not yet understand the sound associations with the corresponding symbols. In other words, you do not yet understand the language being utilised.

You can investigate these instantaneous symbolic associations, which are taking place within your subconscious mind, for yourself, by remembering your dreams upon awakening, to thereby analyse what triggered off your dream in the first place, which is invariably that of a word leading to an emotively charged symbol or versa vice. Such associations can be subversively influenced by others, which of a science is termed as neuromarketing, although, its science is based upon the techniques utilised by religion.

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But you can take control over these outside influences, by personally observing the internal associative process when you attain lucidity within the dream, wherein you can utter a word of conjuration, such as a name (mantra) you have prior associated with a painting (mandala), photograph or sculpture etc, which has an archetypal quality.

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For example, you can utilise an image (mandala) you have associated with a Succubus, which has been prior meditated upon.

This will then generate instantaneous symbolic associations, whose correspondences formulate into the manifestation of a (mantra) named Succubus within the dream.

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Since you have attained lucidity within the symbolic arena of the dream, which to all intents and purposes feels very real of a fully immersive experience, the Succubus is now more than just a two-dimensional image of a symbol, she becomes as a three-dimensional interactive sensory reality.

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Another example: imagine an artist who at a conscious level is painting an image of a Succubus whose painting involves the usage of planetary metals suspended in coloured oils to paint. The painting of the Succubus has been named of a title, which of a name has been utilised as a mantra.

The artist repetitively intones the mantra of the named Succubus, while painting her image of a mandala, since its creation will automatically involve meditation, along with intermittent periods of active-imagination, involving visionary episodes concerning the Succubus being painted.

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The artist will also visualise an abstract symbol of a constructed sigil over his painting, which represents his symbolised desire of a seal. At a certain juncture of his intense focus, the artist experiences a short duration of hypnagogic trance, which can be extended with practice, where he will sense that another part of himself has taken over painting the image.

This other self has been prior associated with an alternate self-image of an Avatar to assume, like that of an actor playing a part of a character, whose female counterpart is the Succubus, via whom he introverts his erotic ‘focus of desire’. He doesn’t have to consciously think about the construction of the painting any longer, it has become subconscious of automatism. It is at this point that the employed symbolism has been implanted into the subconscious informational domain of the electron dream.

Wednesday Addams

When the symbolism of the painting has been successfully implanted into the subconscious mind of the artist, he will then experience ensuing dreams about the Succubus he has painted; much of which will be quite surreal of artistry.

The initial dreams will be that of trigger-dreams, which might lead to him becoming conscious within the microcosmic realms of the dream, when he recognises the trigger-symbols association with the Succubus he has painted. These trigger-symbols will also manifest as concordant macrocosmic (oracles, signs, portents and omens) synchronicities, which are indicative of the (water) dream merging with (land) waking reality; whereupon he becomes amphibious of awareness.

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The artist may also experience a visitation of the Succubus at the hypnagogic point of sleep; which, if he isn’t prepared for of an eventuality, it will initially manifest as the Old Hag Syndrome involving sleep paralysis, where he will endure being pounced upon by a shadowy entity. If the artist can overcome his fear, and thereby remember the name of the Succubus he has been focusing upon, when to either think or to call out the name, the shadowy entity will then assume the form of his conjured Succubus.

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The artist might have sussed out the riddle of the Sphinx, which of a symbolic formula is made up of four elemental creatures, being that of a Woman’s head and torso, a body of a Lioness, having Eagle’s wings along with a Snake headed tail. However you also have a tale about a prince called Oedipus. It is sad that he took on the challenge of answering the riddle of the Sphinx who was sizing up Oedipus to be her next victim.

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She asked; “what goes on four legs in the morning, two in the afternoon and three in the evening?” Oedipus thought for a moment. Then he replied “The answer is Man. He crawls on all fours as a baby, then walks on two feet as an adult, and then walks with a cane in old age.” What Oedipus was told of numbers, when added together adds up to the number nine, which is associated with the precession of the equinoxes.

Oedipus successfully answered the riddle of the Sphinx, which indicates she is associated with the process of time. More so that of a closed timelike curve, whose ring of time points at an Ouroboros of eternal recurrence, which of a tessearact experience is that of ‘Intrusive Nostalgia, Re-Remembering.’ But there be many another ring of time myriad, encircling parallel universes next door.

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The Snake headed tail of the Sphinx represents the emotive charge of the artist, which is cohered and directed by his eroticised conceptual focus upon the Woman, whom represents his mind-doll. If the artist internally generates a potent emotional charge, which reaches an ecstatic state, it will initiate the arousal of an electrical sensation, like that of a slithering serpent arising along the back of the neck towards the cerebellum, which leads to hypnagogic trance. The symbolism the artist has associated with the Woman is then implanted into his subconscious, which initiates a dream visitation of his mind-doll, who is associated with the predatory Lioness, where he might experience the aforesaid Old Hag Syndrome.

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Should his fear overwhelm him, he will sense that he is being strangled, which is indicative of the activation of the reptilian brainstem. Whatever his fear is, it will become his worst nightmare made manifest; the trick is to rein in and ride the Night-Mare, rather than the nightmare riding him. Should the artist have been successful in internalising his sexual impulse of an emotive charge in order to negate his fear, the mind-doll will assume the form of his erotic desire, when he calls out her name; wherefore binding her to his will.

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This will then lead to an ecstatic out of body experience, which is represented by the wings of the Eagle; whereupon he is then enabled to access the hall of records, which is that of his lucid dream, where he becomes aware of the Ouroboros.

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When the artist attains full lucidity within his electron dream hall of records, to browse, like that of the internet, of an informational web, he will observe that whatever associative symbolism he has associated with his Succubus of a world, it too will also manifest around her of an (informational associative fractal dream domain) alternate reality.

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Her universe is made up of corresponding memories; wherefore you have the term of ‘the hall of records’ as well as the Hebrew word of ‘Da’at,’ which means, belief. Basically, the beliefs of the artist will determine what he tunes into of a dream world.

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So, if an artist has painted a Succubus to look like a Steam-Punkette, he might find himself entering into an alternate Steampunk Wizard Of Oz Nikola Tesla world, of a fully immersive reality, or perhaps he has painted a Native American Succubus residing near unto Area 51 Dreamland to thence remote-view. The artist is only limited by the extent of his imagination going beyond the limits of indoctrinated beliefs.

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Should the artist engage in surrealistic dream sorcery concerning his painting of a Succubus, the painting becomes far more than just a two-dimensional image; it otherwise becomes that of a ‘doorway,’ into another world, and that of a spirit repository of a Succubus, he can thereby conjure into manifestation, within a three-dimensional fully immersive lucid dream, to thence illustrate two-dimensional of image, within a grimoire.

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UFO SUCCUBUS STARSHIP ARCHETYPAL

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Star Trek, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 23, 2014 by FAUSTUS CROW

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The 68th Succubus of the Goetia called Beliala can be symbolically associated with the fictional Andromeda Ascendant. The Andromeda Ascendant is a sentient starship, which is depicted in Gene Roddenberry’s science fiction television series, entitled: Andromeda.

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Roddenberry’s idea of a sentient starship was initially going to be used for his prior starship creation of the iconic Enterprise of Star Trek fame, which has since taken on an archetypal status.

The Andromeda Ascendant has an artificial intelligence (AI) you can symbolically associate with your subconscious mind. In the series the Andromeda appears to the crew in three formats: she can appear on the two-dimensional monitors. These monitors you can equate with drawn images of artwork, which naturally involves a meditative state when creating them, being a light state of trance. The artwork is inspired by an initial visionary state of ‘active imagination’ when to conjure Beliala amidst your Triangle Of Art Imagination, where she and her 72 Succubae sisters, whom be all as archetypes, exist.

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I am not talking about the common perception of what the word, ‘imagination,’ means. I am primarily referring to what the Sufi magicians term the imagination to be, which they see as being the power of magic.

She also appears as a three-dimensional holographic projection, which you can equate with a virtual reality ‘lucid dream’ manifestation of Beliala. She can also manifest as the avatar Rommie, (all three are played by the delectable Lexa Doig in the series) you can equate with what the Tibetan Buddhist’s call a Tulpa, which is basically a thought form, you can otherwise term as a thought projected hologram.

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An avatar is a humanoid representation of the AI in the series, which of sorcery practice would be that of Beliala assuming the form of a Tulpa Mind-Doll Succubus, within your active imagination of ritualistic meditative practices; this will then lead to her appearing in your lucid dreams, who will also have the potential of manifesting as a poltergeist (Tulpa/hologram) Ghost Girl (Dakini/Genie) whom will psychically protect her master against the malign intent of others.

I am not saying that Beliala will physically manifest into your reality as a science fiction babe, apart from perhaps setting up a synchronicity, where you bump into a woman, who just so happens is into Rommie cosplay.

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However, the Rommie manifestation of Beliala will occur within an erotic lucid dream, via which you can potentially ‘sixth dimensional‘ remote view futuristic possibilities, and whatever technology therein to discover. Although, I must admit, I have experienced physical manifestations of the (Tulpa) Succubae, which others have unknowingly observed; these manifestations occurred on very rare ocassions, at key times.

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The Andromeda is shown to have the above mentioned holographic and android avatars, which of sorcery practice can be equated with a three-fold process.

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The initial phase of conjuration involves your active imagination conjurations of Beliala, somewhat like intense daydreaming. This will then lead to a microcosmic lucid dream interaction with Beliala.

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The third phase would involve experiencing macrocosmic synchronicities, which will reflect back your internal dream interactions with Beliala.

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These associative synchronicities might involve being at the right place and time to observe a UFO. But keep in mind that, should you photograph or to film the phenomenon, others will invariably say it is fake, let alone to remark; “so what! Everybody is seeing UFO’s all over the place, these days!”.

The associative symbolism, which is utilised will determine the nature of the corresponding synchronicities you will experience. Hence the 68th Goetia Succubus Beliala represents the personality and physical representation of the symbol focused upon of a (UFO) ship’s AI, in this case in the Mind-Doll Tulpa form of a human female, who is one of the 72 Succubae around a Zodiac.

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In one episode of Andromeda, the ship’s engineer, Seamus Zelazny Harper (played by Gordon Michael Woolvett), builds an android as her second avatar.

Lexa Doig

The android of sorcery practice is a Mind-Doll construct of a Frankenhooker, with whom a sorcerer can interact with of a holographic (Tulpa) avatar via the monitor, of his mind. He will thence see her of a knitted together vision travelling beside him, walking and acting outside of her ‘Seal’ of a ship, via which he can remote-view worlds. Of course, only the sorcerer will be able to see her, no one else; being somewhat akin to the invisible friend motif.

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Wherefore, it is highly advisable that you do not to have any conversations with Beliala when out in public; otherwise you might find yourself being dragged off to the nearest Arkham asylum for a dose of electric shock treatment. You could always claim that you are a native shaman; that might let you off the hook. But then that would probably get you into a much bigger mess, involving irate flocks of Sheep, frequenting a local Church, Mosque and Synagogue, whom will join forces for the first time in history, so that they can eradicate your free brain off the face of the planet.

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Better to say that you are an absolutely crazy surrealist artist, and that its all part of the exquisite corpse creative process to create a Frankenhooker Mind-Doll Tulpa Golem girl. They’ll probably just consider you to be a confused sad old Goat and leave you alone.

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Then again, others around you might be far too preoccupied with observing an angelic UFO, which just so happens, to have manifested, when you turned up; while you was secretly intoning an arcane Beliala mantra, in order to summon her star chariot, so that you can escape the planet of the Sheep.

Fans of the Andromeda series refer to the monitor and hologram manifestations of the female AI as ‘Core’ and ‘Logic,’ respectively. The ‘Core’ can be associated with the microcosmic manifestations of Beliala within a lucid dream; while ‘Logic’ is that of Beliala’s generation of concordant macrocosmic synchronicities.

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Gene Roddenberry was a most insightful fellow who depicted all three versions of the Andromeda AI having distinct personalities, even though they are based on the same root personality. This at times leads them having discussions with each other and even arguing amongst themselves, like that of your three brains, of a layered reptilian, mammalian and hominid brain. This is why Beliala initially manifests in the classical Grimoires as two Angels on either side of a (UFO) chariot.

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In the series, the Andromeda Ascendant is equipped with a slipstream drive for FTL (faster than light) travel in which it uses an Exotic Matter Lens (similar to the video game: Mass Effect) to focus and open up a Slipstream Portal of a Stargate.

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Internally, this Stargate can be equated with a quantum wormhole, which manifests as a (Vesica Pisces) vaginal star barrelled (black sun) torsion tunnel within a lucid electron dream; whereupon the Stargate is clearly associated with the feminine principle.

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The internal processes of consciousness, which constructs your experience of reality, once understood, could be potentially applied to a technology. You would thereby have a very different technology to the one you presently utilise within the public arena. Whereupon if a technology has been developed behind the scenes, which is based upon the processes of consciousness, it could lead to what is termed as a Secret Space Program.

Within Roddenberry’s Andromeda series, the starship Andromeda Ascendant is shown to be somewhat sexual of an underlying theme, since it is clearly implied that the controlling female AI has an emotional attachment to her Captain Dylan Hunt. This is a variation on the archetypal idea of captains being in love with their (Succubae/Valkyrie) ships, implied for centuries, which is extensively used by Roddenberry in Star Trek.

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