Archive for automatism

THE MUMMY RETURNS

Posted in Art, Chaos Magic, Discordianism, Film, Goetia Girls, Goth Girls, Horror, Lucid Dreaming, Occultism, Poltergeist, Psychology, Science Fiction, Sex Magic, Sorcery, Succubus, Surrealism, Tarot, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 13, 2017 by FAUSTUS CROW

RED ICE: I am your stand in host on Red Ice TV. We are very honoured by having the talented actor, Tom Cruise here, in our humble studio, who has taken time out, from his very busy schedule to tell us about his role in the re-imagined Mummy film. Let’s start by asking… (Tom Cruise quickly interjects.)

TOM CRUISE: Look, I have to cut to the chase here. I haven’t got much time. I need to warn the public; I can’t hold back any longer; a female Mummy is far more real than anything you can ever imagine.

RED ICE: What? I thought all Mummies are female, my very real Mummy was most definitely female, until she had a Hollywood sex change, now I call her my big Daddy…

TOM CRUISE: No, no, no! You know what I mean, I mean reanimated Egyptian Mummies; the bandaged up types, clambering out of a crumbling Beehive of a pyramid; they’re for real… (Cruise stands up from his seat and does a staggered zombie impression as Mummy Boris Karloff.)

RED ICE: You’re kidding me! You’ll be saying that Boris Karloff is a Imhotep Freemason, next, who’s plastered ghost is still around, haunting the Illuminati Beehive lodges of Hollywood’s Masonic studios?

TOM CRUISE: No, no, no! Far worse than Karloff; a Queen Bee Mummy will knock Karloff’s worker Bee Mummy into Oblivion; she’ll go far beyond Marjorie Cameron, who hunted down Jack Parsons upon a Babalon synchronicity. She’s a femme fatale Succubus… She’ll get into your pyramidal three tiered brain, driving you Left-Hand-Path creatively mad with her dark salacious nature.

RED ICE: Are you for real? An ancient Queen Bee Mummy is actually around, walking amongst us?

TOM CRUISE: Yes! She’s a disembodied Thetan, who has total control over the worker Bee’s, Alex Kurtzman and Jon Spaihts. what’s more, as a disembodied Queen Bee Thetan, she took possession of Sofia Boutella.

RED ICE: Sofia Boutella is possessed by a disembodied Thetan? What do you mean by a Thetan, exactly? Can you explain to our Muggle audience what a Thetan is?

TOM CRUISE: Well, I can’t go into the Thetan stuff. You have to a be a Scientologist to be privy to that kind of… Clear… information. All I can say, is that a Thetan is like a spirit.

RED ICE: Is a Thetan spirit associated with the Theta brainwave, which is involved with hypnagogic trance and Artistic creativity?

TOM CRUISE: Yes! Yes! It is a chaotic brainwave state, we Scientologists have to control at a collective level in order to brainwash brains, to then convert their jellies into a hypnotised hive-mind, just as the Catholic church of Rome’s BORG empire has likewise done so, let alone Islam and that of their original appropriated BORG source, Judaism. As Philip K. Dick once said, “The Empire Never Ended!” So, when in Rome, do as the Roman’s do… Cults are financially lucrative, which is especially the case when a cult becomes a big-business religion, paying no taxes… Shit! The money just rolls in. That’s why the public water supply has been eugenically fluoridated with a known neurotoxin and a mutagenic compound, in order to calcify the DMT producing pineal-glands of the unwashed fleecy minded populace, to never question their monotheistic triangle of an Illuminati trinity… Damn it! I’ve let slip there…

TOM CRUISE: Forget what I jut said. Look, I can’t reveal anymore, otherwise I’ll be castrated by L. Ron Hubbard’s Men In Black minions, dressed like dog-collared priests… But there’s something far, far worse than them… I haven’t the time; I’m being hunted by the Great Old Ones. This is between you, me, and your very select audience, you understand… Kurtzman told me in private, that he and Spaihts decided to use the Surrealist technique of Automatism, which involved the utilisation of a Ouija board.

RED ICE: What type of Ouija board did Kurtzman and Spaihts use, there are so many different designs?

TOM CRUISE: The Ouija board was specially designed by the same individual who wrote and illustrated a Grimore, both of them used to conjure up a Succubus as their inspiring Art Muse. It was the Muse who inspired their artistic ideas for their movie, to win over the studio’s lodge, big bucks.

RED ICE: What Playgirl Grimoire are you talking about here, are you speaking about, something like, H.P. Lovecraft’s Necronomicon?

TOM CRUISE: Sort of; but it’s the real Necronomicon, since no one had ever depicted what this Grimoire covers, listing Playboy Goetia Girls. It was written and illustrated by some mad sorcerer artist, named Mardun, who is also known as Faustus Crow; he is the Artist who designed their Ouija board.

RED ICE: Mardun… Faustus Crow… never heard of him… Tell us more about this Succubus Art Muse…

TOM CRUISE: The Succubus, Kurtzman and Spaihts conjured up is called Uvall, who is said to be an ancient Egyptian Art Muse, Crow illustrated as a Mummy. Uvall started to make the planchette go crazy around the Ouija board, channelling the script for the entire movie, who also communicated that another name she is known by is… Ahmanet.

RED ICE: So you’re telling us that Kurtzman and Spaihts conjured up a Succubus called Uvall, which channelled the entire movie script as well as taking possession of Sofia as Ahmanet?

TOM CRUISE: Yes! The Succubus transformed Sofia into a wild eyed Performance Artist. She became like an ecstatic Shaman High Priestess Of The Silver Star; she would spontaneously go into an orgasmic Sirius trance on set, saying she was the incarnate ‘Anima’ made as Babalon flesh, let alone singing perverse erotic hymns about Faustus Crow all of the time; it scared the living shit out of me, let alone everyone else. When she sang her salacious praises to Crow, she would make various objects fly all around, such as cameras flying like winged eyes, the camera crew’s bus, weighing as much as a pyramid block, flew like Harry Potter’s car; she even levitated camels, which trotted the air like Santa’s reindeer out of London zoo; it was like Spielberg’s, Poltergeist, but for real.

RED ICE: Sorry, but I think, all of this sounds absolutely crazy. Are you taking any psychiatric medication?

TOM CRUISE: I hate psychiatrists, and I’m not mad; I’m deadly serious. Kurtzman also informed me that the other film directors and writers are using Crow’s Grimoire in the same way for their own horror films, let alone science fiction movies.

RED ICE: Hang on! What? The other directors, writers are using Crow’s Grimoire, in order to conjure up Succubus Art Muses, around his Ouija boards, for their movie scripts as well? That’s, just plain nuts! It sounds like a David Icke reptilian conspiracy to me.

TOM CRUISE: Uvall, I…I… mean, Ahmenet; NO! I mean, Sofia; she’s possessed by the raptor SOPHIA, get it!? She is intending to awaken all the hot blooded Beasts to their Fallen ‘Anima,’ by using those hypnotically erotic dance moves of hers. You do know what that means don’t you?

RED ICE: No! I don’t; Fallen ‘Anima,’ what’s that?

TOM CRUISE: Can’t go into the Jungian details, apart from saying that it means an end of the Illuminati deification of the ‘Animus,’ made as our three faced God out of Ur, whose gender fixated rule since the Zodiac age of Aries to that of Pisces is about to be usurped by the Succubus Great Old Ones of the fallen ‘Anima.’ The seventh seal of a Chakra has been opened, by the conjuration of Uvall, who will usher in the new Aeon of Star Trek Aquarius.

RED ICE: Let’s get this straight; you’re saying that the conspiring directors and writers in Hollywood are conjuring up the Great Old Ones of the fallen ‘Anima,’ who are all Succubi, to bring about the age of Aquarius, just like the Hippies attempted to do during the Vietnam war era?

TOM CRUISE: Yes! Something like that, but the Hippies were still enamoured with our deified ‘Animus’ made as a God, so, we were able to control them. However, this zeitgeist time around, we have a far bigger problem, which hearkens back to something, very ancient, yet it is also of a far flung future shamanistic orientation…. I would like to point out that Crow uses the older term, Succubae, by the way… Not only the directors and writers are part of this, but also the producers, Artists, and even the actors and actresses; they are all secretly conjuring, which enables them to induce lucid dream interactions with Crow’s Art Muses. The films will all share the same cinematic Hyper-Sigil universe…

TOM CRUISE: Just like Marvel’s and Disney’s elemental superhero franchise of the spandex wearing ‘Animus,’ whose neuro-marketing empire will be toppled by the return of the classic film-land monsters out of the collective unconscious. It has all been initiated by the conjuration of Uvall as Ahmenet, who equates with the Tarot card of the High Priestess.

RED ICE: Hmmmm! I’m sure that Madonna will know that the High Priestess is associated with the ‘Ninth’ Yesod sphere of the Moon in the Cabbala, whose Tarot card is ascribed to the thirteenth path, which crosses over the ‘Eleventh’ hidden sphere of Da’at.

TOM CRUISE: Yes! I know all that Reticular-Activation-System, Nine-Eleven stuff. It is via the Aquarian stargate pylons of Queen Bee Sofia, who is now Crow’s High Priestess, that Hollywood will soon be transformed into Horror-Wood under the blue Kachina star of Sirius.

RED ICE: (smirks) Are you conjuring out of Crow’s Grimoire as well? I must say that Sofia’s pylons are most ravishing.

TOM CRUISE: (moralistic anger) NO! You know what my Minority Report leaning is of ‘Animus’ worship; I am not into this vile ‘Anima’ pornography. It’s all mad, utterly insane; that is why I am warning you about what is going on behind the creative scenes, where Crow’s sorcery of Art is being practiced. (Cruise’s mobile starts to ring; he looks wide eyed at the received text, an expression of War Of The Worlds abject terror crosses his face.)

RED ICE: Are you okay, you look as if someone has just stepped upon your eternally recurring Edge Of Tomorrow grave?

TOM CRUISE: Uvall, I…I… mean, Ahmenet, she’s found me out! No! Her name is Babalon, No! No! No! She can’t be Babalon… I mean Sophia, damn it! damn it… it’s Sofia… damn it, sounds all Greek to me… it’s all the same bloody archetypal raptor. She knows where I am; I’m not safe here. This interview has ended… I have to go, NOW! Before Crow’s dark haired Babalon Working Queen Bee Mummy finds me. (A Heyoka Crow is heard cawing in the Avadhuta distance.)

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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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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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THE CONJURING OF NIGHTGAUNT NUN GREMORY

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 31, 2014 by FAUSTUS CROW

This is one of those rare times I am going to relate a personal experience, without using veiled symbolic references. Sometime ago, when as a youth, I decided to conjure up the Fifty-sixth Goetia spirit called Gremory, otherwise named Gamori or Gomory.

The classical grimoire description of the spirit I had otherwise visualised as a Succubus dressed as a Nun.

The symbolic logic of which was the associated motif of the Camel, upon whose back this described Succubus is said to ride in the Goetia.

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The Camel in Hebrew is Gimel, which of a letter is associated with the thirteenth path of the Cabbala.

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The thirteenth path transverses the hidden Sephira of Da’at, whose path is ascribed to the Tarot card of the High Priestess of the Silver Star: Sirius, linking the Sephira of Tiphareth and Kether.

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Hence, it is the High Priestess II, I am alluding to in regards to Gremory, since fifty-six in numerology reduces down to eleven, of the eleventh Sephira of Da’at.

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Some to say that the name Gremory or Gamori is etymologically related to the French word Grimoire, which, if it is indeed the case, the name is quite apt for the High Priestess, since she is depicted seated in a doorway between two pylons with a Grimoire upon her lap.

I utilised the methodology of meditating upon Gremory’s seal in association with erotic imagery of Nun’s; some of the imagery was derived from photographic material, which I had utilised to create an exquisite corpse photomontage painting. The Frankenhooker creation of which automatically involved in depth meditation. I then utilised Gremory’s seal in association with the artistic creation, upon which I meditated, along with drawing and painting the spirit to thereby create a distinctive personage. This also involved creating a back-story for the spirit of creative writing, in order to give her Nightgaunt Bat wings, so as to fly

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The technique of writing involved visualising the spirit as a Nun, of active-imagination, whom I conjured amidst my Triangle of Art, which had been drawn upon a piece of card; while doing so I visualised myself standing at the centre of a magic circle conducting the ritual of conjuration. The visionary material, which had been imaginatively conjured, I rapidly drew in a sketch pad; this also informed my writing and computer generated art.

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A Ouija board, of a meditation device, was also utilised for the practice of automatism via which a two way dialogue could be established between my conscious mind and my subconscious conjuration. This was done, so that I could determine if there was any subconscious blocks as well as furthering the creation of the artwork, both visual and literary. The experiment was conducted in order to determine whether the utilised symbolism could be implanted into my subconscious, which would then act as a trigger-symbol within the dream. The intention was to initiate a lucid dream interaction with Gremory. The meditation also involved repetitively intoning Gremory’s name as a Mantra, which I then utilised at the Vesica Pisces point of hypnagogic sleep, along with visualising her seal.

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The experiment was conducted over a period of a week, thereabouts; approximately five hours per day or more, since it is part and parcel of my artistic vocation. Sometimes it consumed both day and night of constant working with some intermittent breaks. I had noted that there were certain hours, days and nights, wherein I experienced a flowing creativity of active-imagination visions about a Nun; whereas at other times it was literally an uphill struggle to seer anything at all. These peaks and dips of emotively charged visionary material seemed to be tied up with my circadian rhythms around the Moon phases.

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At a certain juncture of the experiment I became both mentally and physically exhausted; I couldn’t continue anymore, as if burnt out; I just felt like crashing into sleep. I knew from previous experience that this was the time when a dream visitation of the conjured spirit would most likely occur. The onset of which occurred at the point of sleep when I accessed the hypnagogic state; I then experienced the classic Old Hag Syndrome of sleep paralysis and that of a shadowy invisible presence around me. I remembered from other experiences of similarity not to give into my fear, but such had been prior negated by my introverted sexual impulse due to my ritualistic focus upon the eroticised material. I then called out Gremory’s name; whereupon the shadowy invisible presence took on the form of a Nightgaunt Nun amidst her cathedral.

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I will not relate what had occurred within the induced lucid dream, which is a private affair of an out of body experience.

Although I may allude to its inner reality, and that of other experiences, to describe in a roundabout way within my artwork and writing.

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What I will say is that the experiment was successful on the dreaming front. But I did not expect what was soon to occur upon awakening, of an unforeseen event. I decided to go out to the corner shop in order to obtain some cigarettes. I was intending to buy a packet of Camel’s to celebrate my artistic endeavour of dream sorcery, rather than smoking the usual roll ups; while doing so I pondered upon the experience of contacting Gremory within my vivid erotic dream, which led me to suddenly decide, on the spur of the moment, to extend my walk towards another shop beyond a local church, whose graveyard is said to be assailed by grave robbing Satanists of Halloween lore; its truth, I have observed myself, of disrespected scattered bones.

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As to the locality around me and that of its inhabitants, it tends in the main to be quite normal; not much out of the ordinary ever happens. The church, though old, of a previous village focus, has since found its self surrounded by an urban sprawl, to be now in competition with an Alpha course cult across the road, from its Protestant constant warring with the Catholic.

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As I passed by the church, I noticed a black habit Nun walk out of its opening door. I couldn’t believe what I was seeing of a most obvious synchronicity. I then felt very nervous, almost jittery, feeling an itch all over my body, I couldn’t scratch. I thought I was probably hallucinating; whereupon I stopped myself in my tracks to do a double take. This was most definitely not a regular occurrence; not before or since, have I seen a Nun around said church, let alone coming out of it, whose habit was of the classic kind, which had long gone out of fashion amongst practicing Nuns. Although, at another time I had observed such a Nun walking over a highway bridge in the middle of nowhere, which nearly made my shocked friend crash his camper van, within which I was too travelling. My friend’s reaction was no doubt instagated by my conversing about Nightgaunt Nuns, just prior to seeing the flying Nun.

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I decided to smoke a cigarette; I still had some tobacco left in my pouch to make myself a roll up, and while doing so, determine whether I was indeed hallucinating. The Nun made her graceful way down the church path, whom got ever closer to where I was standing. I then noticed that the Nun was in her early twenties, who was very attractive, looking very much like my ritualistic focus, and what is more, she appeared to be wearing lipstick. I thought, to myself, that I must indeed be hallucinating; but if so, it was bloody three dimensional real, in the flesh, of a Nastassja Kinski look alike.

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The winding path that the Nun hovered along like a black shadow ghost, took her up behind me. I nervously stood my ground, before slowly walking on myself, in order to allow the Nun to pass me. As she passed by, I noticed that she was indeed wearing lipstick and makeup, whom looked at me askance of slanted feline dark eyes; she was aware that I was uncontrollably staring at her out of shock, no doubt looking quite dumbfounded, which made her grin like a Cheshire Cat of a most knowing look.

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As the Nun walked in front of me, a slight distance away, she appeared to make it a point of making her hips to seductively sway on purpose; whereupon I noticed she was wearing high heeled shoes. I looked around to see if anyone else had noticed her. The problem was, there were very few people around of an early morning stroll. However, there was a small group of individuals standing at a bus stop; some of them turned around looking quite perplexed at her carefree passing by.

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I breathed a sigh of relief, that I was not in fact hallucinating; others could see her too. Whereupon, I whimsically conjectured that she was probably a call-girl wearing a kinky Succubus costume, who had just visited the naughty Vicar at his crumbling church, or that she was an actress who was playing a Nightgaunt part in an amateur horror flick. None of my conjectures seemed to fit the facts; the church wouldn’t want such publicity, since it’s flock had been assiduously working towards getting funds to renovate it over a number of years.

As I got closer to my destination, the Nun stopped in front of me; she turned around and wirily smiled; almost looking lustful. She then enquired of me, if she could have a cigarette. I nearly fell over, fumbling. I answered to near stutter, “yeah, sure;” without coughing up my nervous guts as my pounding heart missed a beat.

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She didn’t mind at all that I had to make the cigarette. I placed some tobacco in a paper, and handed it to the Nun; whereupon she asked me to lick it for her. She seemed to be enjoying my nervousness. In retrospect, I should have asked her some very searching questions. Alas, I was but a youth; although to have experienced a plethora of very strange occurrences, this one caught me totally off guard, as if I had inadvertently quantum slid into an alternate reality.

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I gave the cigarette to the Nun, which I then lit for her. As she got closer, I smelt the whiff of perfume, which was musky. She then took a long drag on the cigarette and softly blew the smoke into my face of a noted seduction, or that of a blessing, before thanking me, and then she slowly walked off, her delectable hips swaying.

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I stood for a moment, watching her walk down the road like a catwalk model out of a Vogue magazine, deliberating should I dare follow her, or to just go into the shop and get some Camel’s and a bottle of Casillero del Diablo. I decided to follow her at a discreet distance for a time, just to get my head on straight, so that I could piece together the meaning of this momentous synchronicity.

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The Nun then turned a corner down another road. I was but a short distance behind her; when I got to the turning, she was nowhere to be found, as if she had suddenly disappeared; apart from finding the discarded butt end of the cigarette I had just made, painted with her scarlet lipstick, which I later placed with her seal into a medicine pouch, hanging from my drum.

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There were no houses on either side of the road she could have gone into, which of a long stretch had no available doorways; nor were there any cars parked in the road, into which she could have leapt. If there was an awaiting car, I would have seen it pull away down the road.

I then started to wonder if it was more than just an in my face synchronicity of concordant symbolism, which correlated with my lucid dream experience; that this was an actual physical manifestation of Gremory, or that of a tulpa? Further similar experiences indicate that physical manifestations do indeed occur, or at the very least that of most intriguing synchronicities. I am not at all concerned whether you believe me or not. I really do not care at all; I have nothing to prove, apart from proving it to myself. If you want proof best find out for yourself, if you ever dare to practice the art.

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NECRONOMICON OUIJA BOARD OF THE ARCHETYPAL GREAT OLD ONES

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW
The Ouija Board designs are removable, individually die-cut vinyl stickers, which are ideal for smooth flat surfaces, such as cut to size MDF boards topped by a sheet of perspex or glass, should you be using a planchette, etc. The design depicted above is for the 56th Fallen ‘Anima’ Archetype of the Goetia called Gremory, which is 356 x 299 mm in size. The designs are available from my Redbubble shop, should you be interested, Please Click Here, or Click “The Art” for further details.

The largest design size available for the vinyl stickers is: 356 x 299 mm. Smaller sizes are also available. Please Note, there is also 1/8th” (3.2mm) white border around each design.

The design depicted above is for the 32nd Fallen ‘Anima’ Archetype of the Goetia called Asmoday, or Asmodaya, which is 356 x 299 mm. 

Once you have carefully affixed the chosen design to a prepared board of your choice, by making sure no troublesome air bubbles arise, a pendulum can then be used, which will swing to each letter when a question is asked of a conjured Fallen ‘Anima’ Archetype of an Art Muse amidst your Triangle Of Art Imagination.

The operative methodology here is Art, which employs the shamanistic technique of Surrealist Automatism. Basically it is a method of creating Art. This involves the conjuring Artist being able to suppress his/her conscious control over the creative process, allowing an Archetype of an Art Muse who is being conjured out of the unconscious mind to have greater influence over the sway of the pendulum around the Ouija board design.

The design depicted above is for the 55th Fallen ‘Anima’ Archetype of the Goetia called Orobas or Orobassy, manifesting as a Pony-Girl, which is 356 x 299 mm. 

Of course you will need a pendulum, which can be easily created by using a piece of string with a simple weight at its end, which can be made more ornate by using exotic materials, which have an Archetypal meaning to you.

When conducting the Surrealist Automatism, you should seek to still your mind, after asking your Surrealist question. This can be achieved by repetitively intoning the mantric name of the conjured Archetype of an Art Muse, to otherwise meditate upon her central Archetypal image amidst the mandala design, while the pendulum swings around the board.

The design depicted above is for the 4th Fallen ‘Anima’ Archetype of the Goetia called Samigina, which is 299 x 356 mm. 

As the pendulum slowly halts its swing, when pointing out a letter, number, etc, in answer to your question, it is then noted down. Do not worry if the answer does not make any sense at first; for like a surreal dream, it is symbolic, which is then translated into Art. It is when you create your Art, the answers will then make more associative sense.

The intensity of this divinatory practice of Art is a creative form of meditation in its own right, which will enable the focused upon imagery in league with your questioning to stir your dreams, which can in turn enable lucidity. So, take note of your microcosmic dreams and any correlating macrocosmic synchronicities you observe.

The design depicted above depicts the Triangle Of Art, amidst which the Fallen ‘Anima’ and her myriad archetypal legions of the Succubus Great Old Ones are conjured. The design is 356 x 299 mm.

Early 20th century Dadaists, such as Hans Arp, made use of this ritual magic method for the visual Arts by utilising chance operations, which the psychologist Carl Jung would otherwise term as synchronicity.

The technique of the Surrealistic séance involves visualising an Archetype, while inducing (Theta brainwave) hypnagogic trance trance, then the unconscious is given free rein over the painting process, whose chaotic pattern would then have an associative meaning.

The Surrealist Artists, most notably André Masson, utilised the Automatic writing method of André Breton and Philippe Soupault, both of whom used the technique to compose Les Champs Magnétiques (The Magnetic Fields) in 1919. The Automatic Message (1933) was one of Breton’s significant theoretical works about Automatism.

The shamanic methodology of the Ouija board can be seen as Automatic writing or psychography, which is considered to be a psychic ability, allowing a H.P. Lovecraft to produce written words without consciously writing.

The divinatory words otherwise arise from the Necronomicon powerhouse of the subconscious where the Fallen ‘Anima’ resides along with her myriad Archetypal legions of Art Muses, who be the Succubus Great Old Ones, whom rebel against the deified ‘Animus,’ made as a God/Devil.

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