Archive for archetypes

CONJURING THE FALLEN ANIMA DEVIL GIRL

Posted in Art, Chaos Magic, Demon, Demonology, Devil, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 15, 2017 by FAUSTUS CROW

The Artwork depicts the sorcerer Artist, named, Faustus conjuring up his Fallen ‘Anima’ to Mantra name Mephistophina, within an eroticised lucid dream. If you are interested in the Art print or shirt design, etc, Check Out my Redbubble shop, Please Click Here.

Mephistophina has in her hand a Coitus Pactum union with his ‘Anima,’ whereupon Faustus wins back his Soul, which had been initially enslaved by the ‘Animus’ fixation of the brainwashed masses.

In ancient cultures the Soul of an individual was seen to be of the opposite gender to the person it was connected to.

Hence, Faustus’s Fallen ‘Anima,’ of a Mephistophina is a Succubus emanation of his Soul, around whom be the Zodiac circled decan legions of (Succubae) Succubi Great Old Ones, whose Fallen archetypes frequent the grimoire dream.

However, the herd mind of the masses is none too pleased by Faustus’s Entartete Kunst rebellion against their ‘Animus’ fixation of an all pervading symbolic ‘Matrix,’ which is considered to be very politically incorrect.  

Faustus cares not; for his Fallen ‘Anima’ of a Soul is free from the ‘Animus’ cultists brainwashing incarceration, who seek to imprison all within their New World Order feudal Kingdom of an Orwellian heaven on Earth, over-lorded by Beta-Male Good-Guy Messiah, King and Prophet, who be too their Alpha-Male Bad-Boy Prince of darkness.

Faustus to say, “if only the Witches had learnt to control their own ‘Animus,’ of a patriarchal All-Father fixation, whose externalised centralist politics is very jealous indeed; then the world would have been a very different place, by now of a Zodiac Age. Alas, the Witches far prefer being Oprah Winfrey ‘Fifty Shades Of Grey’ dominated by their own ‘Animus,’ to deify of three gender fixated religions out of Ur’s ziggurat.”

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Faustus to continue, “they still haven’t figured out that their three ‘Animus’ fixated religions are the real Illuminati, whose trinity of a pyramidal triangle is actually the oily ziggurat of petrodollar Ur, amidst which be the Big-Brother Eye of their Orwellian All-Father.Little wonder then that Faustus is considered to be politically incorrect, whose Sorcery Art is seen to be Entartete Kunst.

Wherefore the depicted scene of the Artwork goes far beyond Marlowe’s and Goethe’s version of Faust, and his Mephistopheles of a deified ‘Animus’, made as a God/Devil.

The Artwork was used in my Art book Grimoire, ‘Goetia Girls: Book One,’ which is available from Createspace and Amazon.

If you are interested in the Art print, or shirt design, etc. Check out my Redbubble shop, Please Click the image link above.

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SUCCUBUS ANIMA HOWLING

Posted in Art, Chaos Magic, Devil, Discordianism, Goetia Girls, Lucid Dreaming, Occultism, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 8, 2015 by FAUSTUS CROW

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The grimoire entitled the, Goetia, means, howl, which of a word, the poet Allen Ginsberg had used for his 1955 poem of protest, titled: Howl. Ginsberg’s, ‘Howl And Other Poems,’ was published as part of his 1956 collection of poetry, which was dedicated to the writer Carl Solomon at a counterculture time when feminism came to ascendancy. Ginsberg wrote that:

“In publishing ‘Howl,’ I was curious to leave behind after my generation an emotional time bomb that would continue exploding in U.S. consciousness in case our military-industrial-nationalist complex solidified into a repressive police bureaucracy.” 

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Ginberg’s Howl utilised the name of a God that was once worshiped by the Phoenicians and Canaanites called Moloch, which Ginsberg saw as representing a repressive police state as well peoples blind submission to it. The Swiss psychiatrist Carl Jung would probably whimsically see Moloch as representing the masculine principle of a Fifty Shades Of Grey Animus residing within the psyches of all women.

The counterpart of the Animus is the Anima, which in Carl Jung’s school of analytical psychology, is the primary female archetype residing within the unconscious mind of a male.

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The Anima is described by Jung as being an influential force within the collective unconscious, which transcends the unconscious of the personal psyche of an individual male. However, due to the mass indoctrination into a male dominated monotheistic paradigm, the expression of the Anima has been systematically erased or otherwise incarcerated into the symbolic form of a celibate Virgin Mary, masking the one time ancient Egyptian Goddess Isis.

The Anima and Animus are archetypes of the collective unconscious; they are not personal aggregates of a father, or mother, brothers, sisters, aunts, uncles, or teachers, etc; although their imprints upon the personal unconscious can influence an individual.

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The Animus in particular is symbolically expressed as the all male pantheon of Angels and Demons, which are listed in the monotheistic grimoires, who dance around a God and a Devil; wherefore their patriarchal gender fixation upon the male is that of the Animus residing within the unconscious psyches of all women.

You can thereby conclude that the symbolic construct of the patriarchal religions of Abraham, upon which these grimoires are primarily based has been forged by women, due to an overriding fixation upon the Animus, made as God and Devil.

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Hence, when women berate the patriarchy, they are inadvertently berating their own Animus projection, which has been personified as an All-Father God, enthroned between a crucified Beta-Male Good-Guy and an Alpha-Male ‘Bad-Boy’ Devil.

However, every personification of the unconscious has a light and a dark aspect, such as the Animus, which can bring life-giving development and creativeness to the personality, or it can cause an individual to reactively erase its influence, which leads to insanity, the eventual death of a personality, becoming like that of a soulless automaton.

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Should this reaction be applied to the collective, it manifests as hypocritical political-correctness, totalitarian thought-control and fascistic politics.

The religious symbolism of the monotheist faiths mirrors the relationship dynamic between women and those men they choose as their mates, whether in actuality or that of fantasy.

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For example, many a woman is infatuated with a crucifying Bad-Boy Christian Grey, of fifty-shade Twilight desires, who desire being nailed by his conservative necrophilia of bestial dogma.

This fixation upon the Animus is genetically hardwired, of a biological imperative, which of an unconscious influence within the psyches of all women, over the Zodiac ages, has forged the present patriarchal focus of Piscean age society.

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As you are no doubt aware, the present patriarchal society of an Animus fixation is becoming progressively more fascist of orientation.

Those who argue that such is not the case, are faced with the unerring fact that the creative principle behind the entirety of existence has been symbolically personified as a God, whose religious construct of an all male paradigm is derived from a particular cultural perspective, stemming from the war torn Middle East.

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Logic would dictate that the creative principle behind the entirety of existence cannot be personified by a religious focus upon a singular gender, of human form, let alone being based upon a cultural construct. Hence, the overriding monotheistic focus upon the male points at something else, being that of the Animus.

As for the symbolic expression of the Anima within the Playgirl grimoires, it is none existent; but then, the religious construct upon which these grimoires are based, has castigated the Anima out of the spiritual equation.

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Should a male presently explore his Anima, he will duly find himself being tarred and feathered as being a misogynist, or a sexist pornographer, merely because he plays video games, involving female characters.

This is more so the case, if a male artist expresses his explorations of the Anima via his art, which can potentially lead to his work being shunned, censored, let alone banned as being Entartete Kunst.

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Artistic renditions of the Anima often manifest within the art-form of video games, which are being presently targeted by social engineers, who invariably utilise the emotively charged front of feminist politics to do so.

When to investigate the Anima, a male practitioner of symbolic alchemy has to keep in mind what Jung had termed as, ‘invasion,’ of the conscious by the unconscious archetype of the Anima, which can then lead to him being easily manipulated by the emotional politics of his female partners, upon whom he unknowingly projects his Anima.

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Women are generally more emotionally astute than men; this is because their emotional intelligence develops at an earlier age than males do. This is not a sexist remark, it is actually a biological fact.

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Jung insisted that: “A state of Anima possession…must be prevented. The Anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment”.

Because a man’s sensitivity is usually repressed, the Anima is considered to be one of the most significant autonomous complexes of all within the psyche of a male, which influences a man’s interactions with women as well as his attitudes towards them. If he is not aware of his Anima, he will duly find himself being manipulated by the controlled media machine manipulation of women, upon whom he unknowingly projects his Anima; just as women are likewise influenced by their Christian Grey Animus.

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Jung related: “the encounter with the shadow is the ‘apprentice-piece’ in the individual’s development…that with the Anima is the ‘masterpiece.”  

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Jung saw the Anima as being the interface with the collective unconscious. Hence, she is the doorway into the collective dream; whereby, those who seek to influence the unconscious minds of individuals will target the Anima via subversively stirring up the women, which is easy to achieve since most males are totally unaware of her archetypal existence within their own psyches.

The established symbolic paradigm of an Animus fixation has castigated the Anima out of the spiritual equation. Wherefore Faustus Crow summons up his Anima, Mephistophina, in order to negate the viral-meme brainwashing of the establishment, by conjuring her Muse sisterhood of Succubae amidst his Triangle Of Art lucid dreams, to thence list within his howling Skull and Crossbones pirate grimoire, of artistic anarchy.

NOTE: I am not saying that the Bene Gesserit Sisterhood are the unseen cause of all the woes of this world, that would be plain silly, which would be just as crazy as saying that the Illuminati Brotherhood are the cause of every woe afflicting society. It is more of a case of the many who blindly give over their power to a few, whom delude themselves, that they are the elite; this is due to them being inbred insane! The insanity of the brain-dead puppeteers is plain for all to see when to look at the Middle East of mass-sacrifice!     

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GOETIA GIRL IPOS, SHAMAN WITCH 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 is Ipos, otherwise called Iposi. She is a Great Countess and a Mighty Princess and appears in the 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 Master witty and bold.

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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. She also knows of all things Past, Present and to come of Futures beckoning back. She Governs over Thirty-Six Legions of Female Spirits likened to herself of Actresses.

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When a Male practitioner conjures Iposi, he can assume the alternate persona of a famous Actor within a lucid dream, which Iposi will empower. What is required in order to achieve this goal 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, 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 Master 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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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.

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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.

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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.

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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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