Archive for cave art

AT THE EARTH’S CORE CAVE WOMAN BIFRONS

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 27, 2017 by FAUSTUS CROW

The woolly Mammoth Cave women made most of the oldest-known cave art paintings, suggests a new analysis of ancient hand-prints.

Most of the square headed scholars of the deified ‘Animus’ fixation made as a God, had assumed these ancient artists were predominantly male, due in the main to the explicitly erotic content of many of the Entartete Kunst cave paintings, which disturbs Middle Eastern theological sensibilities; so the new findings overturns decades of religiously hewn archaeological dogma.

Archaeologist Dean Snow of Pennsylvania State University analyzed snowy ice age hand stencils found in eight cave sites in France and Spain.

By comparing the relative lengths of certain fingers, Snow determined that three-quarters of the hand-prints were female who had having sex with their ‘Animus’ on their brain.

“There has been a male bias in the literature for a long time,” said Snow, whose research was supported by the National Geographic Society’s Committee for Research and Exploration.

Snow continued, “People have made a lot of unwarranted assumptions about who made these things, and why?”

Archaeologists have found hundreds of hand stencils on cave walls across the world. Many of these early paintings also showcase game animals—bison, reindeer, horses, woolly mammoths and erotic imagery.

Because of the subject matter of the art, many researchers had proposed that they were made by male hunters, perhaps to chronicle their kills and sexual conquests as some kind of “hunting magic” to improve success of an upcoming hunt for game, or a mate to hunt down.

The new study suggests that much of the cave art and its erotica was created by female artists; this isn’t to say a male artist did not carve away to create a Venus figurine of his ‘Anima,’ like a proto-Hans Bellmer, who eventually fell foul of the feminist Entartete Kunst.

Experts expressed a wide range of opinions about how to interpret Snow’s new data, attesting to the many mysteries still surrounding this early art.

 

“Hand stencils are a truly ironic category of cave art because they appear to be such a clear and obvious connection between us and the people of the Palaeolithic.” Said archaeologist Paul Pettitt of Durham University in England.

Pettit continued, “we think we understand them, yet the more you dig into them you realize how superficial our understanding is.”

Another inner Earth gallery of prehistoric cave paintings has also been found in South-Western France, including a drawing of a 12ft long bison along with erotic sketches.

The find, at Cussac, in the valley of the Dordogne, is regarded as almost as important as the celebrated Lascaux cave paintings in the same area. This discovery was made by Marc Delluc, an amateur archaeologist, but the richness of his finds were not known until later.

French anthropologists said the site was important because it contained “monumental” drawings of animals in friezes of up to 25 yards long. These are sketches rather than paintings, more primitive, almost certainly older than the Lascaux pictures, and perhaps up to 37,000 years old.

The caves also contain erotic drawings of women, which have been found previously only in the art gallery caverns that were discovered in 1994, in the Ardèche region.

The boundaries of art and sex have been blurred for some time – be it increasingly explicit content or the familiar practice of male artists being inspired by their erotic Art Muse, while in an altered state of consciousness.

But then, sex is a sacred mystery, which is very much intertwined with the spiritual impulse. However, as stated earlier. the new studies show, the erotic content of cave paintings were not only created by male artists.

There are a series of erotic drawings, which were discovered on the roof of caves amidst the inaccessible wilderness in Arnhem Land, Australia, in the country’s North; the cave art clearly depicts a couple engaging in sex 28,000 years ago.

Other sections of the wide-ranging artwork in white and red shows other figures engaged in other explicit sexual activities, which would be considered to be mere porn by many a modern observer, who would Entartete Kunst censor it as being politically incorrect.

In fact, this is exactly what has happened, that is why you do not hear much about the erotic cave art. Although, if it is proven that the erotic cave art was primarily created by female artists then the feminists will no doubt hard-sell push for it to be made widely known across the worldwide media as high art.

Then again, there are also many other feminists who will not want it to be known they have sex on their brains. When the proof is eventually discovered, it will prove to be quite humorous.

However, since the erotic cave art is presently seen to be created by male artists, it is generally considered to be lowly pornographic material.

Hence not talked about, nor is it publicly exhibited to any great extent, if at all.

It’s almost as if they’re saying that your ancestors never got it together under the Bifrons Mammoth rug!

It is obvious that the cave artists would depict sexual activity in their ‘Once In A Lifetime’ Westworld art, who asked the eternally recurring question, “how did they get here?”

But it appears that it is the ‘same as it ever was,’ concerning the religious-construct of the New World Order Eden authorities who habitually dictate that you cannot taste of the inner Tree of Self-Knowledge.

Irrespective of religious morality concerning sexuality and modern day sexual politics – it’s what archaeologist Bryce Barker, a professor at the University of Southern Queensland, and his team have been discovering underneath the erotic cave art of an ‘Apple’ core, which indicates a spiritual dimension, the so called modern world entirely lacks, due to its indoctrinated perception of sexuality.

For example, David Lewis-Williams and associated archaeologists have rehabilitated the interpretation of Palaeolithic cave art as a form of magic by focusing on the geometric images. The geometric images appear in great numbers on the cave walls, instead of the realistic depiction of animals that was the focus of Henri Édouard Prosper Breuil (28 February 1877 – 14 August 1961) in his prior hunting magic theory.

Lewis-Williams argues that the geometric images are spatial variations on a set of “form-constants” that the neurologist, Heinrich Kluver, identified in the visionary experiences of experimental subjects under the influence of the hallucinogenic drug, mescaline. An expert on the San Bushman people of South Africa, Lewis-Williams argued, in a series of well-documented papers, that the transfigured form constants are present on cave walls painted by Bushman shamans.

From these considerations, Lewis-Williams draws the conclusion that the paintings and engravings of the Old Stone Age European caves were the result of shamanic ceremonies conducted in dark caverns deep within the labyrinthine ‘Maze’ of the Earth.

As Breuil had suspected, their purpose was magical, a Native American shaman would associate with the ‘West’ of the Medicine Wheel ‘Maze.’

The ‘West’ of the Medicine Wheel symbolically corresponds with the experience of lucid dreaming. But the established orthodoxy of a present ‘Mad World,’ do not like his ‘Westworld’ insight.

What he did not know was that the magic occurred in the context of shamanic trance, wherein of a then induced lucid dream the myriad archetypes of the ‘Animus’ and ‘Anima’ can be consciously conjured into eroticised dreams.

Hence the reasoning why the creation of art is associated with the attainment of sentience; for the practice of art deals with the manipulation of the inner reverie archetypes of memories, which is indivisible to sorcery.

(This article was originally published on another site, I had to re-publish of a rebellion, since it was unpublished by an aggravated male/female religious (buzz-word) femi-nazi as being Entartete Kunst. If you are offended by this article, due to your cultural-religious-construct of entwined political whoring; take note, I don’t give a toss about your fixation upon a deified ‘Animus,’ and its cult politics! The utilised material is an adapted synthesis of associated articles, whose sources are: The National Geographic, The Independent, The Daily Mail and The Faculty/Education who habitually suck up to the present Entartete Kunst.)

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SORCERY ART COOL WORLD LUCID DREAMING

Posted in Art, Chaos Magic, Film, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 18, 2016 by FAUSTUS CROW

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Visualising a mind-doll to sculpt of consummate thought form amidst the triangle of Art Imagination, to thence conjure, of manifest painting, is an act of sorcery.

This is more so the case when the imagined Artist’s model indulges in an Active Imagination intercourse of an internal dialogue, with her conjurer, who as a Muse, inspires the Artist as his created ghost.

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Should this sound far too strange, it is because you have not, as yet realised your potential as being, an Artist, perhaps such is never to be your arena of exploration. You will find that most Artists create imaginary characters, and other imagined creations of varying degrees of visionary intensity in order to manifest them of artistry; it is essentially what magic is about.

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Those who say otherwise are just followers of the Artists creations who indulge in religion. The Artists imagination is unfettered, like that of a child looking upon the world for the first time, which of Art manifests as bright incandescent colours, nigh abstract of non consceptualised form; some believe this to be the unsullied source, unblemished by the morass of life experiences, being the first language of a symbolic perception.

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But it isn’t; though that of the foundation stone, it is not the temple. The problem however, is that the foundation stone of the first language is forgotten as the temple of further conceptualisations is built over time.

Whereupon, the temple becomes that of a fixed tunnel reality of a mundane perception, which afflicts many an adult and society in general who feel as if they are in a Plato’s cave of a drab prison.

This state of being is often exacerbated by religious perceptions, which are nigh unchangeable of a Matrix of symbolic prison bars, whose hold over the mass populace is perpetuated by the indoctrinated generations over great stretches of time; hence brainwashed.

There are those who believe that their temple needs to be totally pulled down so as to return back to the first language of the abstract child, likened to that of returning back to the blissful ignorance of an innocent abstract Eden before sentience was attained. Alas, the perception of a child cannot survive for long in this world; hence the sentient creation of the temple in the first place.

The answer lies in the Da’at Apple lore ‘Knowledge’ to question how the temple of further conceptualisations was created of sentient observations over time, which leads you to the first shaman of the painted cave who as a horned Artist knows that the way out of Plato’s cave is to go internal.

The shaman is aware that a two-dimensional image can become as a three-dimensional interactive reality within a ‘Cool World’ lucid dream.

For a shaman an image symbolically encapsulates the spiritual (energy/informational) essence of what the shaman is focusing upon of artistic creativity, which of a conceptualisation is a living reality within the symbolic interface of the dream.

Those who do not understand that a two-dimensional image can become as three-dimensional reality within a lucid dream will invariably misunderstand Palaeolithic cave Art; for they have forgotten how to dream, which invariably leads to labyrinthine intellectualisations about cultural influences, that reveals they do not have any personal experience of the internal reality.

The same can be said for the present practice of Art, whose creations are religiously pumped out for the mass consumption of the worshipping masses; much of which has become totally disconnected from the internal reality of the dreaming shaman.

The shaman is not a child, but he/she is very much aware of the first language form of the child, which is that of the unfettered imagination; whereupon, what artistic conceptualisations are further created know no limits.

Whence, the shaman Artist conjures up two-dimensional creations into a three-dimensional-reality within his/her dreams, which enables the expansion of consciousness to go beyond the established conceptualised limits, by creating new concepts; many of which can potentially lead to Art movements and ensuing social changes.

For example, a sorcerer Artist can personify a concept as being his Art Muse, of a conjured Succubus, who visits him within his lucid dreams; whereupon he attains ingress into her Art studio of a painted Parisian cave.

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In other words, if the sorcerer Artist had created a Succubus to personify another temporal place or epoch of time, to time-travel remote-view, or to be of some other planetary sphere or alternate Earth, etc, he will be able to access what she symbolically represents within a lucid dream, when to conjure her, of an ‘Anima’ fluctuation.

Some to say, that you should not dally with entities; but you do so whenever your quantum computing brain dreams up its created virtual realities, populated by your creations, a Tibetan Buddhist would term as being Tulpas, which, when becoming lucid, you can consciously engage with.

Others will argue that the entities of the dream are discarnate personalities, that, or other dreamers, or even another order of intelligence, etc. All can be true, or not as the case may be of varying concepts, which of a personal truth will be determined by the (Da’at) beliefs you have.

Your Da’at beliefs will in turn determine what you tune into within the dream of ring-pass-not limits. But if you so choose to of artistry, you can seer beyond them, by metaprogramming your own brain.

But if you otherwise worship your programmed concepts to not question, of a religious fixation, you will be ‘imprisoned’ by your own beliefs, which, should you ever decide to fathom how they were first formulated of a temple creation, you will duly find the horned shaman Artist.

Suffice to say, a conjured Artist’s model of an exotic otherworldly Succubus does not require any Shekels to hire her rather expensive services. Although, it does require the Artist to hone his Visualisation skills as well as exercising his Active Imagination, let alone remembering his ‘Cool World’ dreams. But then, such a skill set is part and parcel of his sorcerer vocation as a shaman Artist.

Basically, Art and Sorcery are indivisible from the other, they are one and the same of Shamanic practice, which is otherwise termed as Magic, Witchcraft or the Occult, etc.

You only see pigeonholed differences between these terms because the terminology commonly conjures up a symbolic language of trained associations.

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But it is that of the shared ‘techniques’ of consciousness expansion they employ of a ‘foundation stone,’ which unifies them into Art; wherefore a sword is a pencil, a wand is a paint brush, your pentacle, the canvas, of a one time cave wall.

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GOETIA GIRL HAAGENTI OF SEXUAL LUCID DREAM ALCHEMY

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 22, 2014 by FAUSTUS CROW

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The Forty-eighth Succubus archetype of the Fallen ‘Anima’ is Haagenti. She is a President, appearing in the visionary form of a mighty Buffalo with Gryphon’s Wings. This is at first, but after, at the command of her conjuring Artist she puts on human shape as a most beautiful woman, wearing horns atop of her head of a crown.

Her office is to make her conjuring Artist wise, and to instruct the Artist in divers things; also to transmute all metals into Gold; and to change wine into water, and water into wine. She governs over 33 Legions of Succubae Art Muses, and her seal is to be meditated upon prior to conjuring her into a lucid dream.

Haagenti is a composite name, which comprises of Haag and Enti. The word Haag in Dutch means den, which can also refer to a cave. However, you also have Hag, which refers to a Witch and hypnagogic trance, where an individual experiences sleep paralysis prior to being visited by a female entity; while Enti in Finnish means fly, which is a reference to an out of body experience.

In ancient times, flies were seen to be the spirits of the departed. You might consider this symbol crunching to be pushing the envelope of believability. But, there are other symbolic formulae of a Haagenti code, which fits together of a jigsaw puzzle.

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It is commonly believed that Haagenti manifests as a Bull with the wings of a Gryphon by patriarchal occultists due to their sustained religious indoctrination into the deification of the ‘Animus,’ made as a God/Devil.

However, the symbolism of Haagenti very likely refers to a Lamassu. The Lamassu is a Sumerian protective deity, which was later heavily adopted by the Assyrian’s.

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The Lamassu is often represented having a Bull or Lion’s body, as well as to have Eagle’s wings, with a human head. The Lamassu is portrayed as a female deity of an ‘Anima’ archetype.

Whereas a less frequently used name is Shedu, which refers to the male counterpart of the female Lamassu. You could even theorise that Aleister Crowley’s LAM entity is derived from the LAM-assu.

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In order to understand what the Lamassu and in turn Haagenti represents you will have to go much further back into time to another locale, where you will find a cave painting in the Lascaux caves, which are located in France, near the village of Montignac in the Vezere Valley. They became famous when numerous Palaeolithic cave paintings were discovered adorning their walls. These works of art, portray realistic portrayals of a variety of large animals, which are estimated to be as much as 20,000 years old if not far older.

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One of the cave paintings depicts a pregnant female Bison next to which is a bird headed shaman who appears to be falling backwards with his arms spreading out.

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The shaman has an erection, which is indicative of erotic trance. Next to the bird headed shaman is a staff topped by a bird head, whose symbolism refers to an out of body experience.

The symbolism of the female Bison is an ancient link to the Lamassu and Haagenti, whose Eagle/Gryphon wings refers to the ecstatic out of body flight of a bird headed shamans (Enti) spirit.

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You could conjecture that the bird headed shaman of the Lascaux (Haag) cave is being visited by a (Hag) Succubus whom is the spirit of the female Bison, which is manifesting in human, form within the trance vision of the shaman.

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The Hag visitation of the Succubus is initiating the shamans ecstatic (Enti) flight out of his body through her (Vesica Pisces) vaginal stargate. (This will not sound too odd when to look into the shamanic experiences of Dr John C. Lilly, who spoke of accessing inner (vaginal portals) doorways, which allowed him to attain ingress into alternate realities.)

The shaman in question is probably intending to attain the virility, strength and power of a male (Shedu) Bison via his (microcosmic) trance union with the (Lamassu/Haagenti) Bison mother, whom he has made pregnant, whereby facilitating a (macrocosmic) successful hunt, whose hunters were highly versed in observing ensuing (associative) synchronicities, they probably experienced as signs, portents and omens.

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Should you consider the above conjecture to be rather strange, all you have to do is to is to remember, White Buffalo Calf Woman (Lakota: Pte Ska Win/Pteskawin/Ptesanwi) who is a sacred woman of supernatural origin. She is central to the Lakota religion as the primary cultural prophet. Oral traditions relate that she brought the ‘Seven Sacred Rituals’ to the Teton Sioux.

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The erotic trance erection of the bird headed shaman was later symbolised in Alchemical terminology in regards to changing water into wine. The symbolic usage of wine is a coded reference to emotional ecstasy, which has been transmuted from a base emotional state, associated with water. This is further emphasised in regards to transmuting lead of a base emotion into gold of an ecstatic emotional state, which is attained via shamanic trance ingress into the dream. The realm of the electron dream is symbolised in Alchemy as the Anima Mundi, whose bio-photon fluctuations manifest as Succubae. The shamans ingress into the feminine domain of the dream is termed in Alchemy as the ‘sacred wedding.’

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The motif of the ‘sacred wedding’ is referred to in highly coded form in the Gospel of John, who describes a wedding that Jesus attended. As the story goes, when the host of the celebration unexpectedly ran out of wine, Jesus performed his celebrated Goetes ‘miracle,’ in which he turned water into more wine. There are many who believe this literally happened, to have taken it further by attempting to drink petrol, they believe has been transformed into pineapple juice by an insane pastor. The utilised symbolism of transmuting water into wine is not literal. What it is actually describing is the arousal of a shamanic state of erotic trance where the base emotion of water/lead is transmuted into wine/golden ecstasy.

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This is when certain practitioners of Yoga experience the arousal of the Kundalini Shakti (fire snake) the Kalahari Bushmen of South Africa term as the Num. The aroused Num then hits the back of the head, which initiates trance, the Bushmen call Kia. The experience of the Num hitting the back of the head is similar to that of experiencing an orgasm; whereupon a male may experience having an erection.

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As an aside of sorts, there are aboriginal Australian cave paintings, which feature scenes of ‘unparalleled eroticism’ that were blamed for an archaeologist’s unwanted bird man erection during a lecture to his female students. Archaeologist Bruce Byrce, a professor at the University of Hong Kong, was giving a ‘Watery’ talk on the series of drawings found upon the cave roofs amidst the Mad Max wilderness in Arnhem Land in Northern Australia, when a particularly saucy ‘Wine’ slide gave him an unexpected bird man erection.

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Professor Byrce reportedly blushed ‘Red’ as a grape, who bumbled over a series of ‘Watery’ facts to Dionysian lose his ‘Wine’ track. Bryce then attempted to stand at a weird 33 degree angle to the female audience of Maenads in an attempt to mask his throbbing bird man staff.

Bryce honestly related; “I had been excavating the site for the last six months, looking at the sexy cave paintings every day. I didn’t once get a semi that whole time, so imagine my surprise when I went full salute during the lecture.”

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One of the sections of artwork, the archaeologists had excavated depicted three naked copulating couples. The cave paintings have been dated to 28,000 years old, making it one of the oldest Tantric scenes in the whole world, which still has the emotionally charged Haagenti power to transform water into wine, lead into gold. But, if you see such works of art to be mere pornography due to your watery religious upbringing, where sex is considered to be the first sin, rather than leaden ignorance, you will never understand what Haagenti represents of sexual alchemy.

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What Haagenti communicates is quite simple; what turns you on sexually, of symbolic stimuli, can be introverted of an ecstatic (Wine) emotional state in order to empower trance ingress into a lucid dream; for it is your emotional ‘charge,’ which ‘spins,’ your electron dreams into (Gold) lucidity. Wherefore erotic works of art covering cave walls were utilised for this purpose by ancient shamans.

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This most ancient technique is easily overlooked by those who have forgotten how to dream within their square minded dens, who believe that such imagery is just an expression of pornographic hedonism.

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The sexual imagery was otherwise ‘spiritualised’ by those who have not forgotten how to dream. This is achieved by internalising the sexual impulse, which has been aroused by the power of Art.

Whereupon enabling a shaman to attain an awakened state within the dream, where a two dimensional image of a Succubus is experienced as a three dimensional sensory reality.

NOTE: The term pornography has become a loaded word nowadays, which is often utilised to castigate anything considered to be degenerate by politically correct minds, who police the thoughts of others.

Pornography was originally applied to images and literary works, which just evoked a sexual response in the observer.

However, pornography indulges in sex for its own sake without having any other meaning outside of copulating, whereas, the term erotic can have associative meanings outside of the sexual act its self.

In the West, the sexual act is not seen to have a spiritual dimension; this is due to the mass indoctrination into an ‘Animus’ fixated monotheistic religion, having a celibate emphasis, which has castigated sexuality as well as the feminine principle of the ‘Anima’ out of the spiritual equation.

This has in turn heavily influenced Western occultism; whereupon, many an indoctrinated mind will castigate Tantric works as being pornographic, let alone considering them to be Satanic.

In order to offset the religious indoctrination, you will have to look into other less sexually repressed cultures, who see human sexuality having a spiritual dimension.

As for the term spirituality it is about personally experiencing something quite other; it is not about blind belief or having faith in a passed down religious dogma, nor is it associated with a newage fluffiness.

One of the primary reasons why an established religion has a set of rules, which controls sexuality is because the sexual act can lead to altered states of consciousness, whether it is engaged in physically or even vividly imagined, which induces physical arousal. This is more so the case when the sexual impulse is introverted in order to empower lucid dreams, such as inducing a Succubus visitation.

The shaman utilised celibacy as a tool in order to introvert his/her sexual impulse into the dream. It was not used as a means to disengage from sex, but rather to drive it inward via meditative practices, using erotic (icons) images. This will invariably lead to a physical frustration building up, which then expresses its self within the dream, and in turn inducing an altered state of consciousness, in league with what is to be conjured within an induced lucid dream.

The established monotheistic religions in particular do not like you engaging in personally experiencing altered states of consciousness, which leads to spiritual insights, because this will then lead to these religious cultural-constructs losing their illusory influence over you.

The Rabbis/Priests/Mullahs do not want you discovering your own inner reality; for if you do so, they are soon out of their tax dodging business, which relies on you believing in their cultic dogma rather than you personally exploring your own consciousness.

Wherefore the established monotheistic religions have set up an ‘Animus’ fixated symbolic paradigm in order to make you fear your own sexuality as well fearing the inner realms of your dreams, let alone castigating the ‘Anima’ out of the symbolic equation.

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LUCID DREAM MACHINE PYRAMIDS

Posted in Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Shamanism, Sorcery, Time Travel, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 22, 2014 by FAUSTUS CROW

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The formula of Tetragrammaton is quite intriguing; you have the initial: Yod (Father), which is the emotional charge, followed by: Heh (Mother), of hypnagogic trance ingress; then you have: Vau (Son/Sun), where your consciousness is ‘nailed’ down within the bio-photon suffused electron dream. This then leads to awakening out of the dream of: Heh (Daughter), hypnapompic egress.

It is somewhat analogous to entering the ‘womb’ of a cave out of which you are reborn. Palaeolithic shamans very likely utilised caves for their initiation rites, which probably involved dream incubation.

Although, I am not talking about everyday normal dreams here, I am specifically talking about ‘lucid dreaming,’ which of an inner experience can become indivisible to so called physical reality. Whereby the elite, who seek to have control over your mind, whose cultural construct of a symbolic Matrix is based upon the deified Animus made as a God and a Devil, will not want you going within. The elite do not want you to seer through their wrought illusion, who far prefer you taking the blue pill rather than the red.

The cave would act like a prior sensory deprivation tank, which forced the shamans consciousness to go inward of hypnagogic (phase) trance ingress into conscious dreaming, wherein, if so desired, he can then conjure the archetypes of his ‘Anima,’ which will manifest as (Succubi) Succubae, a Tibetan Tantric Buddhist would call Dakinis.

The utilisation of the cave for dream incubation was probably later translated into the usage of burial mounds for the same purpose, since the dream realm is considered to be the realm of the dead.

This then developed into a special ritual chamber being used for lucid dream incubation purposes within the bowels of a pyramid. The pyramid represented the shamans cosmic (body/head) mountain, whose symbolism is primarily derived from North Central Asian shamanic practices, more specifically that of Siberia.

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Whereas of present age, many a shaman goes under the guise of a scientist, who uses an isolation (floatation) tank within his laboratory.

Although, said laboratory is no longer that of a pyramid, it can be an Alice in Wonderlad underground cave of Dreamland; if funded by the Area 51 military industrial complex.

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You might ask, “why would the military be interested?” Well, the most obvious, apart from other reasons, such as ‘Looking-Glass’ remote-viewing future technologies, etc, would be preparing Astronauts for space-travel.

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During the Hippie era of the 1960’s, the scientist, Dr John C. Lilly entered into his shamanic training when he was introduced to psychedelic drugs such as LSD and (later) ketamine, who began a series of personal experiments, in which he ingested his sacred sacraments, when either in an ‘isolation (womb) tank’ or in the company of larger brained Dolphins as his familiars.

These events are described in his books Programming and Metaprogramming in the Human Biocomputer: Theory and Experiments and The Centre of the Cyclone, both published in 1972.

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Following advice from Ram Dass, Lilly studied Patanjali’s system of Yoga (finding I. K. Taimni’s Science of Yoga, a modernized interpretation of the Sanskrit text, most suited to his shamanic goals).

Lilly also paid special attention to Self-enquiry meditation advocated by Ramana Maharshi, and was reformulating the principles of this exercise with reference to his human biocomputer paradigm (described in Programming and Metaprogramming in the Human Biocomputer: Theory and Experiments and The Centre of the Cyclone).

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Lilly later travelled to Chile and trained with the spiritual leader Oscar Ichazo (whose attitude to metaphysical consciousness exploration Lilly characterized as ’empirical’ in his book The Centre of the Cyclone). Lilly claimed to have achieved the maximum degree of Satori-Samadhi consciousness during his shamanic training.

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Lilly’s maxim: “In the province of the mind what one believes to be true, either is true or becomes true within certain limits. These limits are to be found experimentally and experientially. When so found these limits turn out to be further beliefs to be transcended. In the province of the mind there are no limits. However, in the province of the body there are definite limits not to be transcended.”

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There is an intriguing Hebrew word: Da’at, which means belief. Your beliefs are ‘symbolic’ programs, which a shaman of a ‘first artist’ learnt to transmute and transcend via (Da’at) lucid dreaming. What you have been led to believe of an indoctrinated symbolic limit, will determine what you internally tune into of associative information. The ancient science of your ancestors was geared towards consciousness engineering, whom were very interested in enhancing their (inverse pentagram/microcosm/five senses) precognitive (remote-viewing dream) abilities as well as being aware of (upright pentagram/macrocosm/five senses) synchronistic phenomena etc. Wherefore, they put a lot of effort into their scientific prowess, such as building a sorcerers pyramid of a dream machine.

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Many may scoff at a pyramid being a dream machine; but such individuals have very likely never experienced attaining a (Implicate Ordered/Nagual) microcosmic lucid dream, let alone that of having an out-of-body experience or experiencing (Explicate Ordered/Tonal) macrocosmic synchronistic phenomena etc. These types of dreamless individuals demand proof, which is, of course, understandable. Alas, they will have to find out for themselves, if they ever bother to (Nommo) do so.

Such will require lots of (Anunnaki) practice on their part, which is a lonely path, Angels fear to tread. But by doing so, they will start to understand why their ancestors built dream machines, which enabled their (Nommo) consciousness, to remote-view touch, the far off stars and beyond, Ad Astra, Ad infinitum, when to fly into inner (Nun) space as a Hawk winged singular (Odin) Eye through a (Succubae/Valkyrie) Vesica Pisces, all as (Vaginal star barrelled) quantum wormholes to microcosmic conjure.

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