Archive for consciousness expansion


Posted in Art, Chaos Magic, Lucid Dreaming, Occultism, Shamanism, Sorcery, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 11, 2019 by FAUSTUS CROW

The following associations between the four elements of shamanic practice and the brain-wave states have been associated with the Native American Medicine Wheel. The Medicine Wheel of a Magic Circle diagram describes an energy movement, and ‘imprint ages,’ moving from the compass points, starting at the South/Water, towards North/Air, West/Earth and Fire/East.

The energy movement looks like the number ‘4,’ which returns from the Eastern quarter back again towards the South, to thence repeat the ‘4,’ etc.

The two cross-over points is that of the introversion of the five senses (inverse Pentagram) upon hypnagogic ingress into the microcosmic (Nagual) dream at the South/Water, and hypnapompic egress (upright Pentagram) out of the dream upon awakening, in the Fire/East, where macrocosmic (Tonal) synchronistic phenomena occurs. The centre of the Medicine Wheel is that of the fifth element quintessence.

SOUTH-WATER: Between birth and 2 years old, a child is in a DELTA brain-wave state, which allows the newborn brain to restore its self. This explains why a newborn child finds it difficult to remain awake for more than a few minutes at a time.

Should a newborn child be brought up within an environment in which music is constantly being played, the sleeping child will very likely be susceptible to the emotionally charged influence of music. (It is to be noted that some very young children, who are under a year old, are quite adept at drawing, which is on par with masterwork cave paintings.) 

When in deep sleep an adult is in Delta. This might be one of the reasons why an Artist tends to listen to music, while creating his/her Art, which in some cases subconsciously reminds him/her of a cave womb time, when as a Delta brain-wave newborn, he/she was being influenced by music.

NORTH-AIR: Over time the brain-wave shifts towards THETA, which is predominant in children aged between 2 and 6. Children operating in Theta are very much involved in their internal world. They live within the realm of imaginative daydreaming, you can otherwise term as the active imagination.

Although they are still unable to show signs of critical, rational thinking, which does not interfere with their imaginative conjurations of invisible friends, such as power animals, etc.

It is a state where an Artist allows his/her imagination let rip into an associative free-fall, without allowing his/her critical conscious mind and rational thinking to interfere in the imaginative process.

This is especially the case for surrealist Artists. One of the methods utilised by an Artist is listening to music, which has the affect of empowering the associative processes of the active imagination.

Many an Artist of the Modern Art persuasion also seeks to regain this state of being as well as going unto an embryonic Delta scribble, depicting a sound, towards having nothing more than a single block of colour covering their birthed canvas.

THETA is a super learning state, where the child is open to suggestion. Children are more likely to accept what has been taught to them as being true. Hence the educational establishment will target children of this primary school age group.

Those who practice Meditation, which is basically the self-inducement of (Theta) hypnagogic trance, otherwise termed as self-hypnosis, can also access this ‘inner-child’ state in order to Hermes-Trismegistus reprogram themselves from the prior-programming of their minds, by those who have a religious/political agenda.

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WEST-EARTH: Between the ages of 5 to 8, the brain waves have changed into an ALPHA frequency. This is the point when the analytical mind begins to form. Children start to interpret and draw conclusions from various influences within their environment. Although, the inner world of the microcosmic imagination tends to be as real as the outer macrocosmic world of reality.

Children in the ALPHA age-group tend to have a Magician/Witch foot in both the (dream/water) microcosmic and (physical/land) macrocosmic worlds, by using both (hemi-synch) left and right brain (Horns) hemispheres at the same time, one can term as being an ‘Amphibious’ shamanic state of (Anunnaki/Nommo/Oannes/Naga) being.

When an Artist creates a work of Art, he/she can access an Alpha meditative state, which is a form of a light hypnagogic trance, which can be directed. It is described as being a peaceful and relaxed state, though still alert, having powerful associative ideas and inspiration.

This is a sought for state to be in when conjuring up a ‘chosen’ imaginary character to vividly visualise amidst your ‘Triangle Of Art’ imagination,’ as well as for brain-storming associations, creating new ideas, for learning and seeing other alternate possibilities.

During the meditative creative process, focused upon symbolic stimuli can be implanted into the dream, wherein a meditated upon two-dimensional image can be conjured up as an interactive three-dimensional reality within a Sixth-Sense (Sexagram/Hexagram) lucid dream.

When in a lucid dream, the practitioner is aware he/she is exploring the microcosmic realms of the dream, while still asleep in his/her macrocosmic bed.

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EAST-FIRE: From ages 8 to 12 and on-wards, brain activity enters into BETA. This is the world of conscious, analytical thinking. The mind is awake, focused and alert, which is capable of the ‘Spirit Chain’ faculty of logical thinking.

Adults spend most of their time in this hunting cycle, which has been prior programmed by their upbringing, such as being taught to believe in the established symbolic paradigm of the deified Animus made as a God/Devil, which also molds and ‘programs’ their grimoire dreams. These dreams can be reprogrammed into other Artistic grimoire expressions.

CENTRE-QUINTESSENCE: GAMMA brain-waves are the fastest of brain waves, which act as the governing agent in the brain. Gamma waves synchronizes the brain across frequencies, relating to the simultaneous processing of information from different brain areas.

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The brain becomes more coherent and efficient, and there is less noise. Gamma brainwaves pass information rapidly and quietly. The mind has to be trained to become silent in order to access Gamma.

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Gamma was initially dismissed as being ‘spare brain noise,’ however researchers soon discovered it was highly active when an individual experiences an overwhelming sensation of universal unity as well acquiring a state of high attention.

Experiments on Tibetan Buddhist monks have shown a correlation between transcendental mental states, vivid visualisations and Gamma waves.

When the monks were asked to induce an objective feeling of compassion during their meditation, the brain activity of the monks began to fire in a rhythmic, coherent manner, which suggests their neuronal structures are firing in harmony.

The ensuing sensation can be symbolically equated to a Shamans Horned feathered head-dress, or a Solomonic Crown a magician wears atop of his head when standing amidst his Magic Circle, or a Pharaoh’s elongated crown, which refers to the practice of elongating the skull, since it feels like the top of ones head is opening up.

This would also indicate that the Gamma rhythms modulate perception and consciousness, and that a greater presence of Gamma relates to an ecstatic shamanic expansion of consciousness and intelligence increase, a Shaman describes as an inner illumination, which is termed as the ‘Fire In The Head.’

The programmed Beta brain establishment fears the questioning inner-child of amphibious state Alpha, who knows how to consciously access Delta, Theta unto Gamma, since the rebellious inner-child is enabled to take a bite out of the banned Apple of inner knowledge.

Art is Sorcery, Sorcery is Art, both are indivisible from the other of shamanic practice.



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


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.


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.


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.


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.


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.



Posted in Chaos Magic, Ghost, Lucid Dreaming, Occultism, Shamanism, Sorcery, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 6, 2015 by FAUSTUS CROW


Alfred Watkins (27 January 1855 – 15 April 1935) was a self-taught amateur archaeologist, antiquarian and businessman as well as being an author who had an interesting insight into an ancient shamanic understanding of the nature of reality.

During 1921, Watkins had a vision, while standing upon a hillside in Herefordshire, England, which revealed the British landscape being covered by an intricate web of straight lines positioned along ancient features. It was Watkins who coined the term ‘Ley,’ now usually referred to as Ley line. He had come up with the term, Ley, because the observed lines, passed through places whose names contained the syllable ‘Ley.’

Many of the Archaeologists did not accept the Ley line idea Watkins had put forward. Many of whom had regarded the ancient Briton’s as being far too primitive to have devised such an arrangement. But Archaeologists no longer use this the argument against the existence of Leys. The Archaeologists point out that there are so many ancient features, that finding some of these features, in an approximate alignment is highly unlikely.

Watkins himself was very much aware of such arguments who argued for caution. He had drawn up a list according to which certain landscape features could be given values between ¼ and 1 point, five points or more, which are required as being evidence of a Ley.

Watkins’ work became far more popular with the general public, when John Michell’s book, entitled: The View Over Atlantis, was published in  Apollo Walk On The Moon year, 1969, which merged Watkins’ ideas with UFO’s, Aliens, Men In Black, Ghosts, Fiery Orbs, Poltergeists, Ultraterrestrials, Faeries and other Phantom Creatures being associated with Ley lines.

However, the Newage concepts of which Michell wrote about were not present in Watkins’ own work. On June 17th 2004, John Bruno Hare of the Internet Sacred Texts Archive (ISTA) responded:

“Watkins never attributed any supernatural significance to leys; he believed that they were simply pathways that had been used for trade or ceremonial purposes, very ancient in origin, possibly dating back to the Neolithic, certainly pre-Roman. He was an intensely rational person with an active intellect, and I think he would be a bit disappointed with some of the fringe aspects of ley lines today.”

But, one wonders what Alfred Watkins would have made of the Kogi Mamas, who have remained isolated from the rest of the world since the Spanish Conquistadors had invaded South America for gold, whose black robed Roman Catholic priests set about systematically converting the natives, by force, to the appropriated faith of the Hebrew’s. Suffice to say, the escaping Kogi have never been influenced by the later hypothetical Newage speculations of the dominator culture.


According to Kogi myth, all matter came into existence when the Earth was spun on an enormous spindle, which led to the nine layers (dimensions) of the universe being conceived, right out of M-Theory, the Kogi would term as the Great Mother, Aluna. Of course, such a perception of reality is somewhat discordant with the established world view of the dominating culture.

If Watkins had met the Kogi, they would have no doubt shown him  a straight (Ley) stone road, telling him that it was a trace of a spirit path, and when in trance their disembodied consciousness would follow the road into the spirit world of conscious dreaming.


The Kogi would have pointed out to Watkins that spirit routes could be seen by them even when they were not marked out by physical roads; for when in amphibious trance, the watery dream becomes one with the physical of land, indivisible.

Watkins would have been intrigued when the Kogi to have related that what is experienced of symbolic triggers within the conscious dream of the microcosm, can manifest into microcosmic physical reality as signs, portents and omens, a European would otherwise term as synchronicities, which occur at certain sacred locations along the roads.


When the synchronicities come thick and fast, making the world mythic of quality, the veils between the worlds can then be penetrated; whence creatures emanating from other worlds can visit for a time; but what to manifest is determined by what the Mamas to courageously tune into via the ‘nine layers’ of the dream.

Watkins may even observe the fearless Mamas sweeping the spirit roads with sacred broomsticks, while in trance, to then wonder about European Witches riding their broomsticks of similarity. However, he might see it as just being a curious coincidence due to his rational intellect.


Watkins will very likely disbelieve what the the Kogi to have related until they show him a standing stone criss-crossed with straight lines, of similarity to many an ancient European standing stone, and that of others across the steppe unto Siberia.

The Kogi would reveal that the standing stone is a map of the spirit paths in the territory of their ancestral land, which is presently under threat, and that of the very Earth, herself.


The Kogi would warn Watkins that the rest of humanity have forgotten how to dream, due to them being taught to fear what their ancient ancestors once knew!

If Watkins was to approach the governments of the world with the warning of the Kogi, would they have listened? Probably not, since the established religions, along with their ensuing politics and vested temporal interests, would not allow for it to be taken at all seriously; for it would mean the end of their centralist stranglehold over humanity; since the Kogi also reveal why your ancestors had built Ley lines across the European landscape, over which Witches had once ridden their broomsticks, before being burnt at the stake by the Church of Rome’s Empire.



Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 21, 2014 by FAUSTUS CROW


Dr John Cunningham Lilly (January 6, 1915 – September 30, 2001) was an American physician, neuroscientist, psychoanalyst, philosopher, writer and a psychonaut, who can be considered to be a shaman. Lilly researched Dolphin communication as well as scientifically exploring the nature of human consciousness, mainly using ‘floatation’ tanks, and psychedelic drugs, which he sometimes used in combination.

In another age prior, Lilly would have been burnt a the stake as being a Devil worshipper by the church, whose establishment, along with the two other Abrahamic cults of a deified ‘Animus’ made as a God/Devil do not like you exploring your own consciousness.

The Illuminati triad of Big-Brother business religions do not like the competition. Hence their systematic persecution of the horned shaman across all cultures.


Lilly was very interested in the ‘Search for Extra-Terrestrial Intelligence’ (SETI) project. In 1961 a group of scientists including Lilly had gathered at the Green Bank Observatory to discuss the possibility of using the techniques of radio astronomy in order to detect evidence of intelligent life outside our Solar System.


This group dubbed themselves ‘The Order of the Dolphin,’ principally named after Lilly’s work with Dolphins, which was also in part inspired by the pre-Christian symbol of the Fish, whose amphibious (Nommo) symbolism is derived from the pre-Christian Vesica Pisces. The ancient symbol of the (Nommo) Fish, Amphibian or Reptile symbolises a shaman who is an adept of (amphibious) hypnagogic trance. The Order of the mammalian Dolphin discussed the Drake equation, which is used to estimate the number of communicative extraterrestrial civilizations in our galaxy.

However, Lilly later became aware that the search for Extra-Terrestrial Intelligence can be conducted through our own neurology, when to explore inner space within the amniotic womb enclosure of a ‘floatation’ tank. The premise being that a highly advanced extra-terrestrial civilisation would use a communication form, which is common to all life-forms.

When a species becomes sentient it would then be able to interpret the (Vesica Pisces: Vaginal barrelled Stargates/Succubae) quantum wormhole () signal (VALIS: pink beam) zapping their neural nets from an extra-terrestrial civilisation conducting its own version of SETI.


Lilly’s work inspired Paddy Chayefsky’s novel entitled Altered States, which was made into a 1980’s Hollywood film of the same name.

The film features a scientist, who introverts his consciousness of a signal, in order to travel back into time within his mind. He accomplishes this shamanic feat while floating as a Nommo (Anunnaki) trance adept within a sensory deprivation chamber after ingesting a combination of psychoactive substances. Although, in real life, those who have become as Nommo trance adepts themselves, when to hypnagogic trance float as amphibious Dr Who Anunnaki do not necessarily need to partake of power plants in order to have the same TARDIS experience.