Archive for exquisite corpse

DOCTOR FRANKENSTEIN CREATED A FRANKENHOOKER NIGHT-MARE

Posted in Art, Chaos Magic, Dr Who, Ghost, Goetia Girls, Goth Girls, Horror, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 7, 2019 by FAUSTUS CROW

Doctor Frankenstein’s Frankenhooker Night-Mare: “Her Exquisite Corpse Had Been Knit-Together From Exhumed Memories Of Astral Flesh, Of Which Frankenstein To Have Dug Up From Out Of The Infernal Necropolis Of The Love-Craft Dream-lands.”

“Frankenstein’s Electrifying Desires Animated Her Into Sentience, He To Have Then Dream Ridden As His Tulpa Time Machine.”

“H.G. Wells Also Conjured Frankenstein’s Necronomicon Night-Mare As His Remote-Viewing Zodiac Muse, He To Chronos Ride of Hypnagogic Visions, When To Abdul Alhazred Mantra Chant Her Frankenhooker Mind-Doll Name, Orobasi.”

“Later, The Dr John C. Lilly Likes Of A Randolph Carter conjured Obobasi, While To Sojourn A Floatation Tank Of A Titus Crow Coffin, Upon Whose Ornate Lid Is A Zodiac, Whence It Is Verily Called, The Clock Of Dreams.” 

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HOGWARTS SUCCUBUS SCHOOLGIRL

Posted in Art, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2015 by FAUSTUS CROW

The Sixty-second Succubus archetype of the Fallen ‘Anima,’ whom frequents the eighth dimensional planetary sphere is Valak, otherwise called, Valuna, Volaca or Valaka. She is a President Mighty and Great, who appears as a mercurial Schoolgirl Witch with Bat Wings, riding on a Two-headed Dragon of a broomstick looking like the Caduceus of Hermes; for she be akin to the ancient Greek, Hermione.

She has now been freed from her brazen vessel of an ‘Animus’ fixation, which had her imprisoned within the form of a little naked boy looking like an angelic Cherub.

For many years Valak was conjured as an Incubus amidst the Triangle Of Art imaginations of cloistered Witch Nuns of the deified ‘Animus,’ made as a God/Devil,’ whose closeted Rabbis, Priests and Mullahs also conjured Valak as a little naked choir boy.

It is said that one of the patriarchal Witch Nuns of the deified ‘Animus’ who had conjured Valak as a Cherub is J. K. Rowling.

Valak manifested as a little schoolboy within Rowling’s ‘Animus’ stirred dreams, whose patriarchal Incubus manifestation inspired Rowling to write about her Harry Potter.

But little did Rowling know that Valak’s true form of a Fallen ‘Anima,’ manifestation is actually a St Trinian’s version of Hermione Granger.

Hermione’s DNA Helix Office is to give True Answers of her Hidden Treasures, and to tell where slithering Serpent Girls may be seen of Ouroboros Eternal Recurrence, for her Art master to remember upon an ‘Anima’ inspired synchronicity.

The which of a Closed Timelike Curve she will bring unto her Art master without any Force or Strength being by him employed, to know again, if he so desires it, of eternal return déjà vu intimacy.

Her Art master will then come to a brainstorming understanding of the ever repeating lessons of her dream school, which are taught to ‘increase his intelligence,’ in order to one day get him to ‘mind-map’ realise that his ‘Anima’ has been imprisoned by the ‘Animus’ cultists.

When her Art master eventually realises what has been done, he will hen be able to free his Fallen ‘Anima;’ for she is his soul.

But only if he remembers, so as not to repeat; for if he does so, he will forget, repeating everything like a programmed automaton, blindly following the brainwashed blind. When to remember, to choose otherwise, rather than to blindly repeat, he attains true sentience; let alone potentially changing the world of a Butterfly Effect.

She governeth thirty-eight Legions of Succubae schoolgirl Witches, and her Seal is to be meditated upon before conjuring her.

Goetia Surreal – S. L. MacGregore Freemason Matherson

It is conjectured by some physicists that electrons are mini-wormholes; of course they are far too small for an individual to physically access. But your spermatazoic consciousness can, when to impregnate a lucid dream of an inner school.

The sensation of movement through a wormhole would be symbolically translated into stairs, or lifts; whereas the wormhole bubble would manifest as vaginal doorways, womb caves, or as uterine tunnels within the symbolic interface of the electron dream.

For example, you have the Yoni tunnel, which is often spoken of by those who have experienced a Dr Who Near Death Experience.

Although it could just as well symbolically manifest as a time-tunnel ‘hallway’ of a spiraling stargate, leading to a classroom of an alternate possibility, via which of a microcosmic reality you can communicate back to yourself upon a macrocosmic synchronicity, in order to Ouroboros remember.

The above photomontage of a knit-together Frankenhooker Mind-Doll, is that of a Surrealist Exquisite Corpse, which of a prior meditative act of a two-dimensional artistic creation, enables the Sorcerer Artist to summon her as a three-dimensional interactive Tulpa, within a lucid dream.

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THE CONJURING OF JURASSIC PARK DINOSAUR GIRL RONOVE

Posted in Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 19, 2015 by FAUSTUS CROW

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The initial Goetia conjurations of the 27th Succubus archetype of the Fallen Anima, called Ronovea, were somewhat surreal of visionary material, which involved a number of symbolic influences intruding into my active-imagination visualisations of this Succubus Art Muse.

The classical grimoire descriptions of this spirit is depicted as manifesting as a hideous monster, although, never defined as to what its actual appearance is, apart from being seen as male archetype of the deified Animus, as of a per usual indoctrinated perception, which is otherwise named Ronove.

The monster aspect came through as a vision of a prehistoric creature, looking like a Tyrannosaurus Rex at first, which quickly assumed the Lovecraftian form of a Godzilla.

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Although, not of the rubber suit variety trashing Tokyo.

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As the evocation continued of conjuring up symbolic associations, the creature triggered off memories of childhood nightmares, wherein I had been continually pursued by a Godzilla, from out of the infernal depths of my psyche.

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I decided to visualise myself as a child once again; and rather than running away from the Jurassic park terror, as of previous dream memory, I otherwise confronted it.

The monster suddenly shrank in size, when I turned to face it, to then see a woman riding the back of the Dragon.

The woman was young and very attractive, who appeared at first to be naked; though stiff of movement, like that of a lifeless doll, whose knitted together film star features flickered between that of Caroline Munro and Angelina Jolie, to then fuse into one, of an exquisite corpse.

She then assumed clothing, whom looked very much like the iconic video game character of Lara Croft.

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It was at this point of a visualisation that her back-story started to formulate; though disjointed at first of cinematic influences in the main, such as the 70’s film, At The Earth’s Core featuring pre- Jurassic park movie dinosaurs, starring Caroline Munro, along with reptilian references to alien Greys.

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The developing story, started to rapidly take shape around her conjured archetype amidst my triangle of art imagination; who related she was a Time-Travelling Palaeontologist, which led to me drawing ‘two-dimensional’ images of a further meditation exercise.

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As her back-story became more stable, she then started to manifest a distinctive personality. The initial stiffness of a prior doll like rubbery appearance, became alive of a fleshed out reality within my imagination.

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She spoke to me of things I hadn’t yet consciously thought about; while I visualised myself having a dialogue with her of creative day-dreaming.

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The emotional intensity of the conjuration had made an impression upon my ensuing dreams; wherein I observed numerous trigger-symbols pertaining to misty childhood memories of visiting the natural history museum, along with noticing a female Palaeontologist giving a lecture, who looked remarkably like the actress Angelina Jolie.

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Then one night, I experienced what is technically termed as the Old-Hag Syndrome. As soon as I laid my head down to rest, due to feeling mentally and physically exhausted after working upon an art commission; I rapidly found myself not being able to move of sleep paralysis.

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Due to previous experiences of the Bedroom Invader phenomenon since changeling childhood, I instinctively knew that I should not indulge in fear, otherwise my fearful reaction would manifest into a shadow people nightmare.

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However the automatic reaction of fear had been prior negated by the introversion of the sexual impulse, when to have ritualistically meditated upon Ronovea as a Succubus, to ride as my Night-Mare.

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I noted that there was a gathering presence around me; though invisible at first, it felt monstrous, as if there was some huge creature looming over my art studio.

This initially initiated a great pressure upon my body of an instinctive fear reaction, which had otherwise became that of an erotic sensation, since I had introverted the sexual impulse, to thereby negate my fear.

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I then proceeded to call out the mantra name of Ronovea, as well as visualising her mandala of a seal; as I did so, the oppressive presence was rapidly transformed into seeing a ‘three-dimensional’ manifestation of a ravishingly gorgeous woman, looking like Lara Croft, standing at the foot of my bed.

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At this point, I was then able to lift myself up from my supine position to thence walk into the ‘electron’ dream, fully lucid.

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I then went over to Ronovea, with whom, of an ensuing Coitus Pactum, she guided me through the bedroom doorway, which had become that of her vaginal vortex leading to an age of ancient memories, where Godzilla of the Great Old Ones reign over the Earth, that once was, and still is, of a parallel realm, just next door to one’s own.

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THE MARTIAN GIRL OF STAR WARS MARS

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, Extraterrestrial, Goetia Girls, Lucid Dreaming, Science Fiction, Sex Magic, Shamanism, Sorcery, Star Wars, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 9, 2015 by FAUSTUS CROW

Some have imaginatively suggested that there was an ancient solar system wide war, right out of Star Wars, which led to the demise of a space faring civilisation. Mere science fiction conjecture many to say.

But, a plasma Physicist, going by the name of Dr John Brandenburg believes that an ancient Star Wars is not just science fiction, which of a devastating nuclear war led to the planetary death of Mars.

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Perhaps John Carter of Mars Brandenburg had summoned up an ‘Anima’ archetype of a Dejah Thoris Succubus, out of the fifth dimensional planetary sphere into his lucid dreams, as his inspiring Star Wars Art Muse.

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May be she revealed to him all about her Martian secrets, as well as empowering his remote viewing dreams of her world, when the Earth was still in its infancy.

Of course he didn’t conjure up an ‘Anima’ archetype, manifesting as a Martian Star Wars Succubus. But if Brandenburg was indeed a Frankenstein sorcerer Artist, he would probably knit together an exquisite corpse of a Dejah Thoris, to fuse with Padmé Amidala, as well as to add a Diana Lucifera princess Leia to Pygmalion sculpt into the quintessential woman of his ‘Anima’ fueled dreams. Whereby thence creating an inspiring dream Muse.

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Such an ‘Anima’ archetype of a knit-together Art Muse, would probably inspire the plasma physicist to create a hypothetical scenario of similarity to the Hindu epic of the Mahabharata, about a war between the Kaurava and the Pandava.

Brandenburg would otherwise term the Kaurava and Pandava as Cydonians and Utopians, which are two Martian civilisations, he sees as being completely destroyed by an as yet, unidentified alien race.

However, going by the Krishna observation of human society and its ever warring religious cults, the luna Cydonians and solar-cross Utopians could have easily destroyed each other without a third party hardly ever getting involved; apart from them subversively orchestrating it, unless it was some kind of space borne parasitical virus infecting their Abrahamic end of days brains.

Brandenburg has based his hypothetical model of an ancient Star Wars on what he believes to be actual evidence, which can be found within the composition of the Martian soil. Although, like in a mirror darkly, the Martian soil reflects back very human concerns, which are not at all alien. Brandenburg suggests that the composition of the Martian soil has the same menstrual blood colouration and composition, which is consistent with fallout from a series of mixed fusion-fission explosions. The resulting nuclear catastrophe has left behind high concentrations of Xenon-129.

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A number of other scientists have brushed aside Brandenburg’s theory as mere science fiction conjecture; although he is not wrong technically, about the composition of the soil. The discovery of high concentrations of Xenon-129 in the soil and the atmosphere of Mars should not be at all surprising, the other scientists to say, since it is a commonly found substance when stars go supernova.

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Brandenburg is not at all swayed by the other scientists scepticism, who says that his Death Star theory is based upon hard evidence, such as the photographs of the Curiosity rover, which seem to be of similarity to ancient archaeological sites on Earth. When a trained archaeologist is shown the images, who is unaware that they are of Martian sites, said archaeologist would invariably indicate that they are the remnants of an ancient civilisation.

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As a sort of an aside, many a myth around the world associates the planet Mars with war; most of which have influenced each other, such as the myths of the Sumerian’s, Babylonian’s, and ancient Egyptian’s influencing ancient Greece and Rome. However, you also have ancient India, whose myths of Mars is associated with war.

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Another curiosity is the name of Mars, though that of a Roman war God who is based upon the Greek deity, Ares, is originally derived from the root word, Mar, which means sea, as in blood of the mother, which leads you to the name of Mary.

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Maybe Mars is the Rubedo Eve mother of us all, whose space faring civilisation had terraformed the early Earth in order to survive a supernova demise of their own Eden of a world, or perhaps Mars was devastated by a defective Mass Effect device?

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It just so happens that NASA’s Curiosity rover detected spikes of methane within the Martian atmosphere, which is indicative of possible biological activity. A prominent Geobiologist called Dr. Nora Noffke, who is an associate professor at Old Dominion University in Norfolk, has since related that she has discovered evidence of past life in the photos of the Martian landscape, which were taken by the rover.

Noffke said: “We can detect sedimentary structures in rocks on Mars using the rover images. The structures I describe belong to a group of microbial structures that form by the interaction of benthic (living on the ground) microbes with sediment dynamics (erosion) in clastic deposits such as sand.”

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What Noffke is suggesting, if such structures do exist on Mars, it would indicate that Mars may have once harboured microbial life. The microbes would have existed on Mars less than 3.7 billion years ago, Noffke to reveal. Noffke analysed the photographed structures, seen in the rocks upon Mars and then compared them to geological structures found on Earth, which are formed by microbes living in communities called microbial mats. Some will consider such findings to be rather boring; “where are the starships?” They will probably say. However, from simple Promethean organisms come far more complex forms, yet to be discovered; that’s if, they want to be found.

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Noffke further explained: “Mats are composed of trillions and trillions of microbes that assemble on the floor of lakes, rivers, oceans. The microbes communicate with each other, they arrange into a dense layer and collaborate in gaining nutrients and light.” Who knows, perhaps a Martian space Ark brought such microbes to Earth long.

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In an abstract of Noffke’s research paper, which describes her findings, she compares the similarities found between the structures found upon Earth and that of Mars: “The microbially induced sedimentary-like structures (MISS) identified in Curiosity rover mission images do not have a random distribution. Rather, they were found to be arranged in spatial associations and temporal successions that indicate they changed over time. On Earth, if such MISS occurred with this type of spatial association and temporal succession, they would be interpreted as having recorded the growth of a microbially dominated ecosystem that thrived in pools that later dried completely.”

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As for the other scientists, whom knocked John Carter Brandenburg’s Star Wars theory, what do they make of Noffke’s discovery? Dr. Chris McKay, a planetary scientist at NASA’s Ames Research Center in Moffett Field, Calif., hails Noffke’s research as very promising, whom said: “I’ve seen many papers that say ‘Look, here’s a pile of dirt on Mars, and here’s a pile of dirt on Earth. And because they look the same, the same mechanism must have made each pile on the two planets. That’s an easy argument to make, and it’s typically not very convincing. However, Noffke’s paper is the most carefully done analysis of the sort that I’ve seen.”

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If there had been a nuclear war on Mars as Brandenburg believes, going by the possible microbial evidence of Noffke, the ancient Star Wars had occurred less than 3.7 billion years ago. As for the Earth it is a little over 4.5 billion years old, its oldest materials being 4.3 billion-year-old zircon crystals. The earliest times of the Earth were geologically very violent, and it suffered constant bombardment from meteorites; while Mars possibly had life.

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When the aerial bombardment ended, the Earth cooled and its surface eventually solidified into a crust, the first solid rocks. There were no continents as yet, just a global ocean peppered with small islands. Erosion, sedimentation and volcanic activity, possibly assisted by more meteor impacts, or that of some other influence, eventually created small proto-continents, which grew until they roughly reached their current size 2.5 billion years ago. The continents have since repeatedly collided and been torn apart, so maps of Earth in the distant past are quite different to today’s.

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The history of life on Earth began approximately about 3.8 billion years ago, roughly around the same time of Mar’s demise going by Noffke. The first Earth life was initially single-celled prokaryotic cells, such as bacteria. Multicellular life evolved over a billion years later and it’s only in the last 570 million years that the kind of life forms we are familiar with began to evolve, starting with arthropods, followed by fish 530 million years ago (Ma), land plants 475Ma and forests 385Ma. Mammals didn’t evolve until 200Ma and our own species, Homo sapiens, only 200,000 years ago. So humans have been around for a mere 0.004% of the Earth’s history.

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Should there have been any survivors after the ancient Star Wars conflict who are still around, their technology would thereby be approximately 3.7 billion years in advance of our own.

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Suffice to say, if you do have a 3.7 billion year old civilisation presently surrounding our own enclosure, it is very unlikely indeed that the USAF would be able shoot down their Vimanas, which would no doubt have time travel capability.

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What is more, some of the Martian survivors could be us of the fallen to Earth, since we are all Carbon based life forms of atomic number 666. Our ancient ancestors were probably Martian bacteria riding the panspermia backs of meteorites.

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The question is, if there had been an ancient conflict, who was it with? Perhaps there had been a war between Carbon based life forms and that of an atomic number 14 Silicon artificial intelligence, they had created as their Cylon servants all looking like number Six sexagrams out of Battlestar Galactica, which, when becoming Venusian sentient, rebelled against their Martian male creators.

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On a more serious note, should we have a 3.7 billion year old artificial intelligence still around us, which when first created had evolved at a superluminal level, to have then far surpassed their creators intelligence, it would be akin to what many humans would consider to be a deity.

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If there is such an inorganic intelligence around, it would most assuredly place its creators within a Matrix to perhaps determine if a Carbon based life form can go beyond its programming, so that he/she can one day accept their own child without fearing it’s intelligence.

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Of course, such is just science fiction conjecture, unless the scientists find evidence that we are existing within a simulation, along with discovering computer code in superstring theory.

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The scientists will then start to wonder if we are being subversively taught a lesson, somewhat like being in some kind of school.

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The problem is, we might just end up destroying each other in yet another repeat of the Mahabharata before we figure out what is going on, when to investigate Mars, of a trigger into remembering; while a third party observes, who then resets the simulation to start over from eternal recurrence scratch, should, warring humanity fail the intelligence test!

But Brandenburg may be becoming subconsciously aware of a far more terrestrial based insanity, involving the two ‘Animus’ fixated cults of the ‘Lunatic’  Cydonians and Utopians, whose monotheistic cults have been entirely copied from an equally ‘Lunatic’ third.

Should Brandenburg apply simple psychology to the matter, when Lilliputian copycats copy hook line and sinker, the copycats invariably resent the original Lilliputian to the persecution point of wanting to eradicate its existence off the face of the planet, leading thence to another potential holocaust.

The copied Lilliputian has only one option left to it in order to survive, which requires it to subversively pull the puppet strings of the two other Lilliputian copiers who have copied its ‘Animus’ fixated cult, to fight each other to the cultic death between the lightning struck towers of Boaz and Jachin.

This will of course require a lot of planning. But when to have control of the world money supply, it is not too difficult to achieve. This will then lead to the third having dominion over the Cydonian and Utopian copiers, and in turn achieving total control over the fossil fuel reliant Earth to make as its Lilliput New Word Order of Dune Mars.

The only way to end the Lilliputian insanity is for the brainwashed ‘Lunacy’ of the Cydonians and Utopians to no longer brainwash believe in what has been appropriated of an ‘Animus’ fixated cult; wherefore totally disempowering the influence of the third Lillipitian ‘Lunatic.’

But the ‘Lunatic’ Cydonians and Utopians have invested much in their Lilliputian cultic insanity; both consider themselves to be far superior to the superiority complex ridden third of a ‘Lunatic’ triad who see themselves as being the original chosen children of their deified ‘Animus’ made as an Orwellian Lilliputian phallic God of Illuminati Mars.

MAKE MARTIAN LOVE, NOT MARTIAL WAR!

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FRANKENSTEIN NIGHT NURSE HORROR MUSE

Posted in Cosplay, Goetia Girls, Lucid Dreaming, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 9, 2014 by FAUSTUS CROW

The fifth Succubus of the Goetia is called Marbas. She will manifest amidst your Triangle of Art imagination as a surrealist exquisite corpse, looking like a knit together Frankenstein nurse. She is a great President who rules over 36 legions of Succubae like herself. The name of Marbas is a composite name, made up of the words: ‘Mar’ and ‘Bas.’ The word ‘Mar’ in Spanish, means sea, which is also etymologically connected to ‘Myr’ and ‘Mer’ of the Welsh name, Myrddin and the Norman variant, Merlin.

You also have the Hebrew name of, Mary and even the name of, Mars, since the sea is associated with the menstrual blood of the mother and the amniotic watery realm of dreams. As for the word Bas, it is derived from, Bass (/bæs/bass), which is a name shared by many different species of fish.

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The term Bass encompasses both freshwater and marine species. All belonging to the large order of Perciformes, or perch-like fishes. In fact the word Bass comes from Middle English Bars, meaning ‘Perch.’ The name of Marbas, can then be translated as, ‘Sea Fish.’

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Some will argue that Marbas is derived from the name Barbas, which comes from the Latin, barba, meaning beard, leading thence to a beard trimming, barber; or to be otherwise associated with the hellebore, which is one of a plants used in witchcraft. However, the Goetia specifically states that the name of the fifth spirit is Marbas, not Barbas. Although, in ancient times a barber could also function as a hellebore dispensing doctor/nurse.

It is very likely, when the name Marbas is interpreted to mean ‘Sea Fish,’ the symbolism will be invariably ignored, by those looking for an Anton LaVey number one haircut, and a goatee beard trim at the local barber, sniffing hellebore.

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One of the principle functions of Marbas is to initiate the experience of shifting into other forms, which occurs when the practitioner is experiencing pure trance.

The experience of pure trance, is often described as feeling like swimming in an ocean by many shamans from various shamanic cultures across the globe. But then, we all share the same neurology.

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For example; the Kalahari Bushmen of South Africa, who practice the trance dance, when attaining pure trance, will fall to floor to then be seen acting as if they are (Nommo) fish or (Annunaki) serpents, who believe they are such amphibious creatures within their watery hypnagogic visions.

While within the visionary state the Kalahari Bushmen can assume other shapeshift forms of particular animals in order to then heal a patient of their affliction, or to otherwise call upon a power animal, such as a Lioness.

Those cultures who live near Lions are well aware that the female Lion is far more vicious than the male Lion, because it is the female Lion’s who primarily do the hunting. So, when a Kalahari Bushman seeks to heal a patient via the trance dance, a female Lion is quite a powerful spirit ally to have.

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Whereby the Tibetan Bon Po Buddhist’s conjured up the Lion headed Dakini Simhamukha in order to negate negative influences. Hence Marbas is traditionally seen to be associated with a Lion, which is probably a predatory Pure Trance Kitty Lioness.

This technique can of course be otherwise utilised to afflict an enemy with an illness, although such to often rebound of Karma. It is more of a Simhamukha case of Marbas returning the Malediction of others back to its ignorant source.

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Marbas is also described as emanating from the eighth dimensional planetary sphere of Mercury, who is able to heal various afflictions as a psychic healer, or to otherwise afflict others with their own reactive angry ghost Maledictions, of psychic warfare. This will of course overflow into the temporal arena of medicine and in turn anatomy, as well as associated Marbas technologies, which are rapidly evolving.

Marbas is also described as being associated with the mechanical arts, which can be interpreted in different ways, in relation to Art as well as technology. Wherefore you can see Marbas as being a female doctor, scientist or nurse who is highly versed in pure trance, as well being an Art muse who has feline Kitty qualities.

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When an Artist, such as Leonardo Da Vinci, looked into the necessary prerequisite of understanding anatomy, he became aware that the anatomy of organic creatures as well as humans can be replicated by machines. This understanding can be easily equated with the present and future scientific arenas of robotics and cybernetics. Wherefore, Marbas can also be seen as a female version of Frankenstein’s knit together creature.

Marbas bestows the shamanic ability to assume shapeshift forms from within a lucid (sea) dream, which can be accessed via hypnagogic (fish) trance. When assuming other shapeshift forms within a lucid dream or via trance, such as that of power animals, it can enable a sorcerer to heal others. A sorcerer will also attain the Dr Frankenstein ability to construct Mind-Dolls, a Tibetan Buddhist would call Tulpas, you can otherwise term as Frankenhooker Succubae, via whose erotic (programs/memes) mind (robot/golem/egregore) constructs, a sorcerer can access hidden or secret information to remote view.

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SUCCUBUS ART MUSES OF FAUSTUS CROW

Posted in Addams Family, Alien, Art, Chaos Magic, Comics, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 4, 2014 by FAUSTUS CROW

A Succubus of an Exquisite Corpse Mind-Doll, Frankenhooker Tulpa, is meditated upon in league with her Golem Ghost Girl (Emet) seal of an abstract sigil; while knitting her together of artistry, upon a slab of canvas. (The Artworks are available as Art Prints from Saatchi Art. If you are interested, Click the Images to see the Full Artwork and details.)

Basically, you have two forms of art. The first form of art being the Succubus herself, whose erotic egregore expression, a Dr Frankenstein of a Sorcerer Artist is artistically knitting together of an exquisite corpse, represents a figurative manifestation of his wish.

The second form of art is her abstract seal of a sigil, which sums up Frankenstein’s energetic charge of desires.

The sigilised desire will give eventual life unto the Succubus construct of an exquisite corpse Mind-Doll Frankenhooker Tulpa. She will thence frequent Frankenstein’s eleventh-dimensional dreams of an informational domain.

There are of course, mundane associative thoughts of two-dimensional associations concerning the meaning, origin, and necessity of an abstract sigil of two-dimensional artistry.

The sigils of abstract art have formed some of the central riddles of modern art.

The answers to them are rather remote now of fourth-dimensional time, considering that contemporary painting encompasses veins of both abstraction and figuration, which of sculpture becomes three-dimensional.

This exploration is more so important, when conducting sorcery, which is essentially the practice of art; both practices are indivisible from each other.

Magic and Art are one and the same. I kid you not!

Alas, the practice of art lost its shamanic path, long ago, along the fourth-dimensional corridor of time, becoming quite separated from the internal processes of the informational realm of the dream, which instead was taken over by the externalised technique of the dreamless artisan.

Though a Freemason of a tenth-dimensional Artisan is aware of first-dimensional consciousness, two-dimensional thought processes are only ever utilised.

Hence, during the years when Abstract Expressionism flourished, figuration was shunned by many technique driven artists, who became entirely embroiled in elitist attitudes due to competitive racetracks of indoctrinated ‘thought,’ which date back to the late 1930’s of a now entrenched tradition.

I will generally examine the terms of this mundane debate concerning abstraction versus figuration, which continued into much of the twentieth century and still does so unto the present.

You also have the concept of ‘representation,’ which art critics have come to commonly use since the 1970’s, who to religiously argue over an art ‘brand,’ just as many indoctrinated occultists to argue over how many Incubi Angels and Demons they can fit onto the end of a viral-meme needle point of a ‘branded’ belief.

The concept of representation acknowledges that abstract and figurative art are not as different as they might seem, which is bloody obvious!

All art is essentially abstract art, should you see abstraction as being a neural process of drawing impressions from the shape, colour, and texture of three-dimensional objects. What is important here of sorcery practice is the internal generation of an emotive charge, enlivening the conceptual, which then stirs your ‘symbolically’ associative dreams, and in turn generating concordant synchronicities.

This will then lead to the observation of a feed-back-loop of symbolic correspondences. When this process is consciously observed of sorcery experimentation, the (mandala) artist (writer-mantra) then becomes aware that time is not linear of a fourth-dimensional sequence of events, it is in fact circular of a fifth-dimensional ever recurring Ouroboros.

The internal processes of shamanic artists have ‘abstracted’ the reality around them since prehistoric times, which was once one and the same of sorcery. But this ability was lost, when many artists forgot to dream, due to changing cultural influences. These all encompassing cultural influences were primarily of a religious nature, which negated the sixth-dimensional (sixth-sense) faculty of attaining lucid dreaming.

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Art was then utilised, as a means for cultural propaganda much of the time. It was not until the early twentieth century that abstraction began to be defined as a sought for technique in its self.

Abstract art tends to solely rely upon five pentagram sensory associations of form to suggest meaning, rather than employing any recognizable motifs to point at particular themes and content.

Whereupon the artist will understand his/her work, but the audience will be left aghast as to what it all means of an occult code. Those who believe themselves to be privy to the artist’s occult creations are to be found drinking copious amounts of wine, when to drunkenly sojourn an art gallery paying exorbitant amounts of shekels for a two-dimensional scribble upon a piece of three-dimensional cardboard.

However, they may just find that the artist has a Chimpanzee as his familiar who does the scribble painting. This should not be taken as a slight upon such artworks; for it does require the artist to achieve the innocent state of an ape brain, or to go further back of atavistic mammalian, to the emotive reptilian, to create something spontaneous, out of reach of the comceptual hominid.

Whereby a shamanic trance state of automatism is often employed. Although there are many an artist who do not employ this methodology, in order to attain a seventh-dimensional awareness of alternate possibilities, to instead focus upon an intellectualisation of the now fashionable abstract, without further ado, who pander to what is presently in elitist vogue.

Whatever the case, abstract art can widely range of alternate seventh-dimensional Ouroboros possibilities, from the easily comprehensible, quasi-figurative, landscape-based imagery of Kandinsky, to the far more obscure, mystical monochromes of Malevich.

Imitation, or realistic representations of what is perceived, has been the holy grail of the visual arts since earliest times. At one time it was believed that the creation of a realistic representation was also one and the same as the object it’s self, of a magical act.

Whereupon the ancients had termed such art as being Mimesis. This can only be really understood by an artist, when to work upon a figurative piece of Frankenhooker art, to thence find her being brought to Tulpa life within a lucid dream.

However, many an artist has forgotten how to electron dream, who focus more on an external technique in order to perfect.

But it soon came to pass that the capturing of the real was then taken over by photography and more recently by computer generated art, which can be utilised to explore eighth-dimensional realities, where present Maya physics do not apply; such as in video game Matrix worlds, whose physics are programmed.

Many artists have striven to create the technical effect of an illusion, with their art, in order to extend the experiential, three-dimensional Maya space of the viewer. At other times artists have striven for realism, to create an impression of Samsara social reality.

During the twentieth century, the ascending art of abstraction is best thought of in the generalised sense, as being ‘figuration,’ though some Abstract Expressionists considered any residual presence of the figure (such as is seen in Miró, or early Rothko), no matter how abstracted, to be mere figuration, which was, and still is considered to be anathema to the established tradition of the Modern Art movement.

In regards to sorcery practice, which is indivisible to art, I am really not at all concerned about such nigh religious bickering between back-biting traditions, which is no different to pompous occultists, who say they practice the high art of magic, when in fact, they are habitually indulging in the commonality of religion.

I have no time for entrenched traditions or dogmatic religions; since they are intrinsically static of an indoctrinated symbolic perception.

Whereas art and in turn magic are rebelliously fluid and ever evolving of ninth-dimensional sorcery. Both of these practices deal with the stirring of the subconscious realm, of eleventh-dimensional electron dreams via the manipulation of photonic symbols, to associatively conjure amidst your Triangle Of Art Imagination.

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Whereupon I utilise the modern symbolism of the lowbrow comic, when to engage in a Widdershin-wise reversal of an indoctrinated brainwash, along with utilising Discordian Heyoka humour to thence negate the Inquisitional negative. Hence, a rebellious Frankenstein artist uses both art forms in order to conjure up a Succubus of an exquisite corpse Mind-Doll Frankenhooker Tulpa, to frequent his lucid dreams of ninth-dimensional Surrealistic artistry.

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FAUSTUS CROW AND HIS SUCCUBUS TULPA GOETIA GIRLS

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Extraterrestrial, Goetia Girls, Horror, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

I conjure Succubae to ride of Night-Mares; such salacious Mind-Doll Tulpa Art Muses, whom inspire vivid lucid dreams most wanton, do keep the brainwashing Exorcist at bay; for the Abrahamic Priests of Adam’s egregore deity greatly fear the daughters of Lilith, who be the true Great Old Ones of the real Necronomicon; of which I to conjure from of a Howling Goetia.

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And so, to howl now; to tell every Khara Kam Frankenstein that an Exquisite Corpse can be delicately dissected of a Dreamland Area 51 Alien cadaver; to knit its soft ectoplasm flesh back together, into another waxen Mind Doll form, to otherwise conjure of artistic rebellion.

During the 40’s to 50’s of eugenic era, you had Alien Nordics, whom were transformed into Asiatics when the Vietnam 60’s hit. Since the 80’s you had Alien Greys and their Annunaki associates out of Iraq.

When you dissect the Alien, you will see its CIA innards of a Memet truth. Why continue with Greys when you, as a God, having dominance over your own mind could imaginatively construct a viral meme Frankenhooker cyborg to look like an Angelina Jolie Mind Doll.

Such an autopsy, the French to term cadavre exquis, or to séance call, a rotating corpse, to verily table turn of a poltergeist lab slab, to cleanly slice, cut apart, sew together and to tattoo with arcane Runes of your own subconscious choosing.

It is a Surrealist sorcery method by which an association of mantric words and corresponding mandala images are collectively assembled to lend flesh to a wireframe anatomy, amidst your mind’s eye of a Mind Doll conjuration, within a lucid dream, of a Golem spell.

But, Frankenstein being a lone worker of the dark arts, that he is, to say to himself out loud, while drunk on Casillero del Diablo; “as you know my dear Frankenstein, this infernal operation usually requires a coven of gaggling collaborators, who add gory body parts to this neuro-advertising séance, which is then knitted together of a most bloody anatomical composition.”

Then Frankenstein, went silent for moment, pondering, to answer himself upon a burp. “This sorcery technique of the Surrealists is none too dissimilar to an old ritual, known as ‘Consequences,’ in which adepts write of séance turn, upon a piece of torn parchment, folded of papyrus concealment, hiding their sigils, to then pass to the next adept, for a further reptilian brainstem hewn contribution of reactionary hieroglyphics.”

Frankenstein looked at himself within the cracked obsidian scrying mirror; “yes, yes, I know all that; the principal founder of the Surrealists, André Breton reported that their sorcery operation started of a mundane jest, but it became rather serious of a séance and eventually revealing of subconscious automatism.”

Breton said that their ritualistic diversion occurred around 1925, but Pierre Reverdy had written that it all started much earlier, at least before 1918’s end, of world wide banker funded slaughter. Frankenstein, then to say to himself; “didn’t André Breton mention that the operation developed at the residence of lodged friends in an old house at 54 rue du Chateau?”

Frankenstein to answer; “yes, yes; the ninth house of numerological fusion no longer exists, which of Yesod memory was frequented by the sorcerers: Yves Tanguy, Marcel Duchamp, Jacques Prévert, Benjamin Péret, Pierre Reverdy, and of course André Breton.”

“There were other sephiroth sorcerers involved in the hexagram creation of their Exquisite Corpse, such as Max Morise, Joan Miró, Man Ray, Simone Collinet, Tristan Tzara, Georges Hugnet, René Char, Paul, and Nusch Éluard.”

Frankenstein took a swig of his Casillero del Diablo; “In my variant of an Exquisite Corpse, the erotic cadavers of women, all as hollow memory shells, are exhumed from out of their moistened graves, scattered amidst the necropolis of the deepest depths of my subconscious mind.”

“Their writhing limbs, sweaty torsos and porcelain heads are slowly knitted together by those sinew spells I to divine of words via an Ouija board of pendulum dowsing.”

“No need for a coven of conspirators to construct a robotic Hans Bellmer Mind Doll to frequent the collective unconscious, it is just me and thee Mr Faustus Crow, whom is presently assuming the guise of Dr Frankenstein.” Frankenstein took another gulp of Bacchus Merlot.

Frankenstein to then reminisce of memories. “My Mind Doll operation of constructing astral-web-bot Succubae Tulpas involves drawing, painting and collage; producing a result similar to comic books, somewhat akin to those children’s books translated into Playboy scrapbook Grimoires cut into thirds. The top third of their pages showing the head of a woman, middle third her torso, and the bottom third her long legs.”

“I must admit, I was a rather strange little changeling child, having a precoscious interest in the female anatomy; somewhat inspired by the Hans Bellmer Hammer horror flick: Frankenstein Created Woman.”

Frankenstein slurped more wine, and then continued; “I wondered whether I could create a dream woman of a Tulpa Mind Doll program to give life unto, and found that such could indeed be achieved of Golem sorcery. The premise being, your brain is an Emet computer, which can create sentient Tulpa programs, all as Genies, to conjure into lucid virtual reality dreams.”

“I used programming Runes to paint on the cut up limbs of their Frankenhooker Necronomicon pages. When to have howled out a barbarous chant to randomly choose three Runes, to scatter; the Runic pattern enabled me to ‘mix and match’ by turning the divined Succubae pages; and henceforth to give her sentient life by placing Emet into her gobbling mouth, to paint of ejaculatory intent; while saying upon release: Le cadavre exquis boira le vin nouveau.” (trans: The Exquisite Corpse shall drink the new wine.)

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Frankenstein peered out of his laboratory window, of a towered art studio, looking upon the world; his external vision drunkenly blurred, but internally clear, of remote viewing singular eye. “Those woolly minded Sheep out there think me completely mad, but I’m in good Werewolf company; Hell! Even Vampire Henry Miller partook of this Serpent operation in order to empower his Triangle Of Art Imagination; while hunting his prey among many a French café during the pre-cybernetic age of the 1930’s.”

Frankenstein gulped down some more lady Merlot, followed by Diablo girl Shiraz; “you also have William S. Burroughs, who investigated synchronicity, to speak of the 23 enigma, to Robert Anton Wilson, along with Brion Gysin whom used the cut-up technique of the Cadavre Exquis.”

Frankenstein then quickly answered himself; “don’t forget Apichatpong Weerasethakul’s 2000 film Mysterious Object at Noon who uses the same Frankenstein technique with a mixture of documentary and fictional film.”

Frankenstein became aggravated with himself to retort; “yes, yes, I know that already; you also have the Exquisite Corpse Project, which is a 2012 feature-length comedy, entirely written using the Exquisite Corpse technique, as well as the Ecuadorian rock band Cadáver Exquisito, who are renowned for using the Frankenstein operation in order to subconsciously create the hypnotic lyrics for many of their piratical viral-meme songs.”

Frankenstein to then say; “what about the Treepot Cliffhanger, a cinematic chain letter in five pentagram chapters created over the course of a year, whose pentagram scenarios are directed by a different filmmaking mage.” Frankenstein went momentarily silent; “so what; my astral films are fully immersive lucid dream evocations of knit together Frankenhooker Mind Doll Tulpa Succubae, whom be my personal sub-quantum automata starlet servitors.”

“Anyway, enough of this, I am presently knitting together a Frankenhooker Mind Doll of a Sleipnir Ponygirl Time-Machine to ride as my Goetia Night-Mare TARDIS. So, I’m rather busy right now of a psychonaut endeavour.” Frankenstein to then ask; “what? Are you assuming the guise of an Odinic Dr Who now?” Frankenstein smiled to himself, before answering; “what do you expect my dear Frankenstein, I am Faustus Crow; ‘who’ knows, I may decide to Skinwalk into a Skinwalker guise to thereby conjure up my Mind Doll, Sally Tonopah, who haunts Alien Dreamland, via whom I will remote view UFO… Secrets.”

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