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PUNK ROCK UFO HORROR GIRL ANDRAS

Posted in Art, Chaos Magic, Discordianism, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 26, 2014 by FAUSTUS CROW

The Sixty-third Succubus archetype of the Fallen ‘Anima’ is Andras, whose name is derived from the Icenic war Goddess called Andraste, also known as Andrasta or Andred. Her temperament is akin to Subject Zero Jack out of Mass Effect. According to the Roman historian Dio Cassius, Andraste was invoked by blue Wode, Boudica in her fight against the Roman occupation of Britain in AD 60. Andraste may be the same as Andate, mentioned later by the same source, described as, “their name for Victory,” 

Romanised as the Goddess Victoria. Some researchers assert that Andraste may be related to Andarta also. As for the Goddess Victoria, she is related to Nike, Bellona, Magna Mater (Great Mother), Cybele, and Vacuna; all of these Goddesses are often depicted riding chariots, you can otherwise imagine as star (chariot) ships.

(If you are interested, the above Artwork is available as an Art Print, Please Click Here.

Andras is a Great Marchioness, appearing in the Fallen ‘Anima’ form of a Punkette Angel, who may be wearing an SS officers Hat, if nothing else.

This does not mean that her character of an ‘Anima’ archetype is a neo-Nazi, quite the reverse, she absolutely hates right-wing fascist Nazis as well as left-wing totalitarian nut-jobs, both of them are one and the same of an Orwellian Big-Brother pincer-movement.

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That is why she is a rebel, who loathes the jealous God Fuehrer of the deified ‘Animus,’ whose symbolic ‘Matrix’ of an imprisoning symbolic paradigm permeates all levels of culture.

The reason for the hat is because of the skull and crossbones motif of an ‘X,’ which is the seventh Rune of Gebo.

The seventh Rune is associated with the Nigredo state of trance into whose hypnagogic vaginal maw a shaman sacrifices himself unto.

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Wherefore she sometimes manifests within a lucid dream, dressed in a tight clinging Black Night Raven uniform, wantonly dancing in a trance dance club, or otherwise being nigh naked.

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She will also be seen of third eye vision riding upon a Tiger I Tank as her chariot, alongside a strong Black Wolf, while she to wield Tommy guns flourished aloft in her hands.

She is very much into the ritual music of the English Punk rock band called Crass, formed in 1977, which promoted anarchism as a political ideology, a way of life and that of a resistance movement.

Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights and environmentalism. The band used and advocated a shamanic DIY Punk ethic approach to its sound collages, leaflets, albums and films.

Crass utilised spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards long before the likes of Banksey, as well as coordinating squats and organised political action.

The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop, which amalgamated icons of perceived authority, such as the Christian cross, the Swastika, the Union Jack and the Ouroboros.

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Alas, at present you only have numerous conspiracy theorists who haven’t got a subculture to fall back upon of a protesting music scene anymore, since it has been utterly commercialised; wherefore heavily controlled of an artistic expression, which is unimaginatively stifling.

Crass was highly critical of punk subculture and youth culture in general during the Thatcherite years, which was rapidly being commercialised by the media empire of the establishment, and thereby controlled via engineered Sex Pistol fashion.

Whereas Crass otherwise promoted a personal form of artistic anarchism, whereby they are considered Art Punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation of artistic protest. Hence Andras is a Punk art Muse whose rebellious Office is to inspire her master to engage in sowing artistic anarchy via ninth dimensional planetary sphere surrealism.

However, If a traditionalist Exorcist of the deified ‘Animus’ made as a God/Devil, has not a patriarchal care to know that Andras is in fact ‘Anima’ emanation Andraste, she will surely Boudica slay the monotheistic ideals of both him/her and his/her ‘Animus’ cult fellows, who be of the fascist Illuminati cults out of oily Petrodollar UR, and likewise with those thought police totalitarians of the politically correct left.

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She governs over 30 Legions of Punkette Succubae, and her Seal is to be meditated upon, alongside that of the Crass logo, while chanting their Punk lyrics.

It just so happened that a crop circle appeared near Stonehenge during the midsummer (Litha) solstice, 21st of June, 2011, which looked like the howling anarchistic Crass logo.

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But then, there was much social unrest due to government cutbacks at the time, of similarity to the Thatcherite years of BSE contaminated beef. A growing number of peaceful protests, were causing a lot of grief to the horse-meat scandal Conservative government, with further proposed mass protests being planned during the coming 2012 Summer Olympics.

The Games of the XXX Olympiad took place between 27th July 2012 and 12th August 2012, of media hype end of days, over which an apparent UFO did hover of blimp similarity to George Orwell’s ‘1984’ Los Angeles Olympics.

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Although the Los Angeles Overwatch event of George Orwell’s ‘1984’ Big-Brother key-time, was far more Hollywood, of eye in the sky, Spielberg fare. Whereas the London show was somewhat, very subtle, until it went viral over the internet, of a cohered mass 2012 focus at an engineered key-time.

As for the Conservative government, they couldn’t allow for the proposed protests to take place during the games. Wherefore the unwashed populace who were planning to paint themselves protest Wode blue had to be curtailed somehow, since Thatcher’s Humpty Dumpty fall, from her Yuppie wall, still haunts the Conservative psyche.

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As if on cue, the Conservative government got what they wanted. Prior to the 2012 Olympic games, between Saturday 6th August and Thursday 11th August 2011, thousands of youths suddenly rioted in several London boroughs and in cities and towns across England. The resulting chaos generated looting, arson, and the eventual mass deployment of police, in certain lucrative areas of London, while impoverished others were left to burn. There was much criticism that the police came onto the stage rather late in the day, whose questionable actions, just before the riot, were also looked into.

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The events were also called, BlackBerry riots, because the organised rioters used mobile devices and social media to spur them on, so it is said, of similarity to the Arab Spring protestors. Suffice to say, there were ‘no protests’ during the games, apart from a conspiracy theory UFO hovering over the audience.

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In other words, if you want to stem the tide of peaceful protests, all you have to do is to ‘Crucify’ the protestors to look like insane nutcases, by subversively promoting outlandish conspiracy theories, as well as spreading fearful rumours, along with orchestrating yobs to cause a violent riot. It works every time of a Big-Brother political tool of ‘Totalitarian/Fascism.’ History repeats itself like that of an ‘Ouroboros.’

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You thereby have the crop circle of a Crass logo, whose symbol reminds many an 80’s Punk to remember the Poll Tax riots under BSE brain-dead Thatcher, who considered Crass to be a thorn in her Conservative side. Whereby when to conjure the protest Art Muse Punkette Andras-te, she has an anarchistic Bjork liking for Crass to be played of ritual music.

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VOODOO QUEEN KIMARIS

Posted in Addams Family, Chaos Magic, Cyberpunk, Discordianism, Film, Goetia Girls, Goth Girls, Horror, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 18, 2014 by FAUSTUS CROW

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Kimaris is the sixty-sixth Succubus of the Goetia, whose name is a composite of Ki, as in ‘Kia,’ and Maris. The word, Kia is derived from the language of the Kalahari Bushmen of South Africa, which is a term describing, trance.

Whereas, Maris, is of the Latin, meaning, ‘of the sea,’ from the term Stella Maris, which refers to the Virgin Mary, the Sirius star of the sea, and the ocean of space, somewhat like the ancient Egyptian Goddess Nuit.

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Although, space in the context of Kimaris, refers to the amniotic astral ocean of inner space; hence her connection to trance.

She is also known by the alternate names Cimeies, Cimejes and Cimeries, which could be construed as being misspellings of Kimaris.

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She manifests as a goodly Mambo riding a black ’58 Thunderbird; who may appear looking like the horror hostess, Elvira, wearing a black, gothic, revealing, cleavage-enhancing gown.

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Her wickedly vampish appearance is offset by her comical character, quirky and quick-witted personality, and Valley girl-type speech out of New Orleans.

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Or she may manifest as a female version of Baron Samedi, smoking a Cuban cigar. She possesses the abilities of locating lost or hidden treasures, teaching trivium (grammar, logic and rhetoric) as well as making her master into a powerful Houngan.

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It is said she carry her master over seas and rivers very quickly in her macabre Voodoo car, which symbolically refers to hypnagogic trance. She holds the rank of Marchioness, and is served by 20 legions of Succubae.

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Kimaris can be seen as being similar to, Maman Brigitte (Grann Brigitte, Manman, Manman Brigit, Manman Brijit) who is a death (trance) lwa and the female counterpart of Baron Samedi of the Vodou pantheon.

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She has a liking for drinking rum infused with hot peppers, whose power animal is a black Rooster. Although, Kimaris probably has a Dog as her psychopomp familiar called Sirius, or Gonk.

Like Samedi and the Guédé, Brigitte has a wicked sense of Discordian humour, which tends to be liberally peppered with outrageous sexual innuendos and various hilarious obscenities.

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The over the top Monty Python humour of Brigitte, Samedi and the spirit family of the Guédé’s is utilised to remind you not to take yourself too seriously, as well as making wiry social comments about the insanity of those in power.

For example Maman Brigitte would have exposed her right breast at a Super Bowl XXXVIII, which was broadcast live on February 1, 2004 from Houston, Texas on the CBS television network in the United States, just like Janet Jackson did.

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She might even say: “It’s truly embarrassing for me to know that 90 million people saw my breast, and then to see it blown up on the Internet the size of a computer screen … But there are ‘much worse things in the world,’ and for this to be such a ‘focus,’ I don’t understand.”

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It just so happens, while Jackson’s exposed Entartete Kunst breast shocked hypocritical church, synagogue and mosque leaders, along with whoring politicians, whom raged and frothed at the mouth, demanding an immediate crackdown, and widespread debate on Elvira indecency in broadcasting, there was an inquiry into the failure to find WMD’s in Iraq, which damaged the credibility of the US and Britain.

However, the general public had been otherwise whipped up to be far more concerned about Jackson’s baby feeder breast, of perceived pornography, than to be worried about the pornography of a war raging in Iraq. When you see the joke, you have to laugh, otherwise you will go quite mad.

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The humour of the Guédé’s is also utilised to offset a morose state of mind, which tends to afflict those whom explore the arena of the occult, which is primarily due to their dogmatic attitude of an indoctrinated religious sentiment.

The comical antics of the Guédé’s entered upon the worldwide stage, when they influenced the dark humour of the 1960’s sitcoms of The Addams Family and The Munsters, whose characters are akin to the Guédés.

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As a New World lwa, Maman Brigitte is syncretized with various saints, including: Saint Brigid, and Mary Magdalene who protects gravestones in cemeteries if they are properly marked with a ‘solar’ cross. Brigitte originally comes from pre-Christian pagan Britain of a Woad skinned Cimmerian.

Her name originates from Brigid, the Celtic ‘triple goddess’ of light, poetry, smithcraft, and healing. It is very likely that Brigitte entered into Haiti when pagan Europeans were fleeing the persecution of their elder faith by the inquisitional church, during the genocide of the Witch burning era.

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Brigitte’s origins is revealed by a Creole song, which is chanted in ceremonies: “Maman Brigitte, li soti nan anglete; when translated is: “Maman Brigitte, she comes from England…”.

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Maman Brigitte is presently seen to be the wife of Baron Samedi, who is the Master of the Cemetery and chief of all the departed ancestors, who are collectively known as lwa Guédé. Hence Kimaris is described in the Goetia, ruling over the spirits of Africa; but as Brigitte she rules over the spirits of Europe as well; suffice to say, she has no time for racists. The connection between Brigitte and Samedi indicates a wedding of a sublime synthesis between the European and African pre-Christian elder faiths.

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It is traditional that the grave of the first woman buried in any cemetery in Haiti is consecrated to Maman Brigitte, upon which her ceremonial cross is erected. She is then invoked to ‘raise the dead,’ in order to cure and save those who are afflicted with a deathly illness caused by malign maledictions. Below is a song about Maman Brigitte sung in Vodou healing ceremonies in Haitian Creole:

“Mesye la kwa avanse pou l we yo! Maman Brigitte malad, li kouche sou do, Pawol anpil pa leve le mo (les morts, Fr.) Mare tet ou, mare vant ou, mare ren ou, Yo prale we ki jan yap met a jenou.” 

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English translation: “Gentlemen of the cross (deceased ancestors) advance for her to see them! Maman Brigitte is sick, she lies down on her back, A lot of talk won’t raise the dead, Tie up your head, tie up your belly, tie up your kidneys, They will see how they will get down on their knees.”

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The healing chant can be interpreted as meaning, “tie up your belly, ‘gird up your loins’ to prepare for the strain of the ritual, we will make the people who did this evil spell get down on their knees to beg pardon and receive their punishment.”

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The primordial practices of Haitian Vodou appears to be quite separate from the high tech futuristic world of cold cybernetics. However, the Cyberpunk author William Gibson sought to forge a Neuromancer bridge between these apparently separate realities in his novel Count Zero. The principle character of the novel is a hacker extraordinaire, going by the name Bobby Newmark, whose handle is Count Zero. Newmark encounters an artificial intelligence on one of his jaunts into the virtual realities of cyberspace, which manifests as a woman, surrounded by wind and stars who saves him from flatlining.

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Newmark does not why he had encountered the woman on the net, or why she had saved him from certain… death. Newmark’s journeying into cyberspace is none too different to that of a shaman attaining trance ingress into a lucid dream.

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Further on into Gibson’s mythic work of synthesis, we meet up with the mysterious girl, Angie Mitchell, whose head has been rewired with a neural network, which enables her to channel entities from out of Cyberspace without a deck, who is in essence, possessed, like a medium communing with the realm of the dead.

Newmark eventually meets Beauvoir, who is a member of a Vodou cyber sect, whom relates that in cyberspace the entity he actually met was Erzulie, and that he is now a favourite of Legba, the lord of communication. Erzulie is a lwa of love and sexuality, you can also fuse with Kimaris, since sex (1) and death (0) become one in superimposition state orgasmic trance.

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Erzulie’s full title is Erzulie Freda Dahomey. The name of, Freda is derived from the Norse Goddess of sexual love and Witchcraft called, Freyja, mistress of Cats, the Saxon’s knew as, Freo.

Catwoman Freyja is also a Goddess of the dead, who has similarities with the Celtic Goddess Brigid.

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Freyja’s male counterpart is the shamanic deity called Odin, the Saxon’s knew as Woden. Odin is seen to be very much akin to the ancient Greek shamanic deity called Hermes, who is the lord of communication; whereby similar to the African lwa Legba.

Odin is also the lord of the dead, who has similarities to Baron Samedi. Although, another lwa called Papa Ghede, who is similar to Baron Samedi wears spectacles with one lens missing, which appears to refer to Odin having a singular eye. In other words, the Northern European deities have been assimilated by African Vodou, which has led to a superb cross-cultural symbolic synthesis.

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Beauvoir explains to Newmark that Vodou is the perfect spiritual paradigm for this era, because it is pragmatic – “It isn’t about salvation or transcendence. What it’s about is getting things done .”

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Gibson’s book intuitively grasps that there is a need for a symbolic interface with the coming cybernetic technologies of virtual reality systems, which leads the reader into the organic symbolism of Haitian/New Orleans Voudou.

As a fan of jazz and other urban music, which Gibson knows is heavily influenced by African rhythms, he instinctively found a symbolic interface, which had the necessary fluidity to evolve alongside an ever evolving technology, whereby allowing the user to not forget their humanity in the process.

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There are many intriguing associations, which Gibson had discovered between the African-descended spiritual system of Vodou and an emerging high-tech future of cybernetics; these associations are shamanic of orientation. But, what do you expect, shamanism is all about altered states of consciousness, which requires you to have an in depth understanding of your own neurology. Gibson is tapping into the zeitgeist concerning the coming singularity, which fuses cybernetics with the science of neurology. Though at first seemingly unrelated, Gibson sees the synthesis of Vodou as providing us with one of the hidden keys to the Matrix, which is the need for a symbolic language form to be used by a virtual reality interface with the machine; this is in essence none too different to the symbolic language form of the dream.

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Kimaris empowers shamanic trance ingress into the amniotic astral ocean of inner space, which is technologically mirrored by Cyberspace, where a sorcerer can conjure the Succubae into his lucid dreams, who are all as sentient programs; with whom he can thence engage himself with, within their virtual reality dream worlds.

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Kimaris may make you wonder if the singularity has already occurred and that you are existing within a vast computer simulation.

When you come to this realisation, you might just hear Livivng Dead Girl Kimaris purring into your left ear of clairaudience, reminding you of a Schrödinger feline, along with smelling a waft of cigar smoke, mixed with the aroma of rum.

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