Archive for feminism

AT THE EARTH’S CORE CAVE WOMAN BIFRONS

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

The woolly Mammoth Cave women made most of the oldest-known cave art paintings, suggests a new analysis of ancient hand-prints. Most of the square headed scholars of the deified ‘Animus’ fixation made as a God, had assumed these ancient artists were predominantly male, due in the main to the explicitly erotic content of many of the Entartete Kunst cave paintings, which disturbs Middle Eastern theological sensibilities; so the new findings overturns decades of religiously hewn archaeological dogma.

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

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

“There has been a male bias in the literature for a long time,” said Snow, whose research was supported by the National Geographic Society’s Committee for Research and Exploration. “People have made a lot of unwarranted assumptions about who made these things, and why?”

Archaeologists have found hundreds of hand stencils on cave walls across the world. Because many of these early paintings also showcase game animals—bison, reindeer, horses, woolly mammoths and erotic imagery—many researchers have proposed that they were made by male hunters, perhaps to chronicle their kills and sexual conquests as some kind of “hunting magic” to improve success of an upcoming hunt for game, or a mate to hunt down.

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

Experts expressed a wide range of opinions about how to interpret Snow’s new data, attesting to the many mysteries still surrounding this early art: “Hand stencils are a truly ironic category of cave art because they appear to be such a clear and obvious connection between us and the people of the Palaeolithic.” Said archaeologist Paul Pettitt of Durham University in England.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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SUCCUBUS ANIMA HOWLING

Posted in Art, Chaos Magic, Devil, Discordianism, Goetia Girls, Lucid Dreaming, Occultism, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 8, 2015 by FAUSTUS CROW

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The grimoire entitled the, Goetia, means, howl, which of a word, the poet Allen Ginsberg had used for his 1955 poem of protest, titled: Howl. Ginsberg’s, ‘Howl And Other Poems,’ was published as part of his 1956 collection of poetry, which was dedicated to the writer Carl Solomon at a counterculture time when feminism came to ascendancy. Ginsberg wrote that:

“In publishing ‘Howl,’ I was curious to leave behind after my generation an emotional time bomb that would continue exploding in U.S. consciousness in case our military-industrial-nationalist complex solidified into a repressive police bureaucracy.” 

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Ginberg’s Howl utilised the name of a God that was once worshiped by the Phoenicians and Canaanites called Moloch, which Ginsberg saw as representing a repressive police state as well peoples blind submission to it. The Swiss psychiatrist Carl Jung would probably whimsically see Moloch as representing the masculine principle of a Fifty Shades Of Grey Animus residing within the psyches of all women.

The counterpart of the Animus is the Anima, which in Carl Jung’s school of analytical psychology, is the primary female archetype residing within the unconscious mind of a male.

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The Anima is described by Jung as being an influential force within the collective unconscious, which transcends the unconscious of the personal psyche of an individual male. However, due to the mass indoctrination into a male dominated monotheistic paradigm, the expression of the Anima has been systematically erased or otherwise incarcerated into the symbolic form of a celibate Virgin Mary, masking the one time ancient Egyptian Goddess Isis.

The Anima and Animus are archetypes of the collective unconscious; they are not personal aggregates of a father, or mother, brothers, sisters, aunts, uncles, or teachers, etc; although their imprints upon the personal unconscious can influence an individual.

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The Animus in particular is symbolically expressed as the all male pantheon of Angels and Demons, which are listed in the monotheistic grimoires, who dance around a God and a Devil; wherefore their patriarchal gender fixation upon the male is that of the Animus residing within the unconscious psyches of all women.

You can thereby conclude that the symbolic construct of the patriarchal religions of Abraham, upon which these grimoires are primarily based has been forged by women, due to an overriding fixation upon the Animus, made as God and Devil.

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Hence, when women berate the patriarchy, they are inadvertently berating their own Animus projection, which has been personified as an All-Father God, enthroned between a crucified Beta-Male Good-Guy and an Alpha-Male ‘Bad-Boy’ Devil.

However, every personification of the unconscious has a light and a dark aspect, such as the Animus, which can bring life-giving development and creativeness to the personality, or it can cause an individual to reactively erase its influence, which leads to insanity, the eventual death of a personality, becoming like that of a soulless automaton.

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Should this reaction be applied to the collective, it manifests as hypocritical political-correctness, totalitarian thought-control and fascistic politics.

The religious symbolism of the monotheist faiths mirrors the relationship dynamic between women and those men they choose as their mates, whether in actuality or that of fantasy.

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For example, many a woman is infatuated with a crucifying Bad-Boy Christian Grey, of fifty-shade Twilight desires, who desire being nailed by his conservative necrophilia of bestial dogma.

This fixation upon the Animus is genetically hardwired, of a biological imperative, which of an unconscious influence within the psyches of all women, over the Zodiac ages, has forged the present patriarchal focus of Piscean age society.

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As you are no doubt aware, the present patriarchal society of an Animus fixation is becoming progressively more fascist of orientation.

Those who argue that such is not the case, are faced with the unerring fact that the creative principle behind the entirety of existence has been symbolically personified as a God, whose religious construct of an all male paradigm is derived from a particular cultural perspective, stemming from the war torn Middle East.

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Logic would dictate that the creative principle behind the entirety of existence cannot be personified by a religious focus upon a singular gender, of human form, let alone being based upon a cultural construct. Hence, the overriding monotheistic focus upon the male points at something else, being that of the Animus.

As for the symbolic expression of the Anima within the Playgirl grimoires, it is none existent; but then, the religious construct upon which these grimoires are based, has castigated the Anima out of the spiritual equation.

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Should a male presently explore his Anima, he will duly find himself being tarred and feathered as being a misogynist, or a sexist pornographer, merely because he plays video games, involving female characters.

This is more so the case, if a male artist expresses his explorations of the Anima via his art, which can potentially lead to his work being shunned, censored, let alone banned as being Entartete Kunst.

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Artistic renditions of the Anima often manifest within the art-form of video games, which are being presently targeted by social engineers, who invariably utilise the emotively charged front of feminist politics to do so.

When to investigate the Anima, a male practitioner of symbolic alchemy has to keep in mind what Jung had termed as, ‘invasion,’ of the conscious by the unconscious archetype of the Anima, which can then lead to him being easily manipulated by the emotional politics of his female partners, upon whom he unknowingly projects his Anima.

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Women are generally more emotionally astute than men; this is because their emotional intelligence develops at an earlier age than males do. This is not a sexist remark, it is actually a biological fact.

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Jung insisted that: “A state of Anima possession…must be prevented. The Anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment”.

Because a man’s sensitivity is usually repressed, the Anima is considered to be one of the most significant autonomous complexes of all within the psyche of a male, which influences a man’s interactions with women as well as his attitudes towards them. If he is not aware of his Anima, he will duly find himself being manipulated by the controlled media machine manipulation of women, upon whom he unknowingly projects his Anima; just as women are likewise influenced by their Christian Grey Animus.

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Jung related: “the encounter with the shadow is the ‘apprentice-piece’ in the individual’s development…that with the Anima is the ‘masterpiece.”  

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Jung saw the Anima as being the interface with the collective unconscious. Hence, she is the doorway into the collective dream; whereby, those who seek to influence the unconscious minds of individuals will target the Anima via subversively stirring up the women, which is easy to achieve since most males are totally unaware of her archetypal existence within their own psyches.

The established symbolic paradigm of an Animus fixation has castigated the Anima out of the spiritual equation. Wherefore Faustus Crow summons up his Anima, Mephistophina, in order to negate the viral-meme brainwashing of the establishment, by conjuring her Muse sisterhood of Succubae amidst his Triangle Of Art lucid dreams, to thence list within his howling Skull and Crossbones pirate grimoire, of artistic anarchy.

NOTE: I am not saying that the Bene Gesserit Sisterhood are the unseen cause of all the woes of this world, that would be plain silly, which would be just as crazy as saying that the Illuminati Brotherhood are the cause of every woe afflicting society. It is more of a case of the many who blindly give over their power to a few, whom delude themselves, that they are the elite; this is due to them being inbred insane! The insanity of the brain-dead puppeteers is plain for all to see when to look at the Middle East of mass-sacrifice!     

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SATANA SUCCUBUS OF SATANIC MAYA MATRIX DELIGHTS

Posted in Art, Chaos Magic, Comics, Cosplay, Discordianism, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 23, 2015 by FAUSTUS CROW

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The name of Satan is a Hebrew word; which is spelt, Seen-tayt-noon. In colloquial Hebrew it means the ‘adversary’ or the ‘accuser,’ which can be equated with the Hindu concept of Maya. The term, Maya is also a name of a Goddess, who creates the Illusion of realty birthing all material form.

The Hindu and Buddhist usage of the term of Maya describes all material form as being an illusion, like that of a (Matrix) computer simulation. As for the illusory nature of reality, it is backed up by the findings of Quantum Physics. The usage of the words ‘adversary’ and ‘accuser’ can be seen as a veiled reference to the feminine birthing all form, which is considered to be an illusion and that of a lie.

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Maya and that of her creation of nature, was the prior matriarchal focus of the animist belief systems, which the patriarchal inclined belief system of Judaism had castigated as being their ‘adversary;’ hence ‘accuser.’

This patriarchal perspective was carried over into the extremes of Gnosticism, whose philosophy considers nature to be essentially evil, which, of an extreme philosophy then informed Christianity and in turn Islam.

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Each of the three letters of ‘Seen-tayt-noon’ is also a word in its self, whereby each word also has its own intrinsic meaning. According to the Hebrew Cabbala ‘Seen’ represents a movement, a universal or cosmic motion, which underlies the movement of all things in the universe.

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This movement is pictured by the Cabbalists as the breath of their God returning from the material plane, back to the infinity of the creative principle, to thence return once again to matter, for the process to endlessly repeat. Basically, when an individual becomes incorporeal, the essence of the individual is seen to return back to the (energy/information) source, from where the individual is then re-birthed back into matter via the female of a never-ending repeat, which you could term as eternal recurrence.

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An analogy would be that of going through a vaginal (Vesica Pisces) door, when being birthed into the world of your three dimensional existence, wherein you experience the fourth dimension of linear time.

To then later leave, incorporeal, through another door. But the two doors are actually the same door in the fifth dimension, of an eternally recurring closed-timelike curve.

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The word ‘Tayt’ represents a cellular structure such as the mitochondria, which carries a memory ‘engram,’ of genetic information passed down from the mother to her children as well as referring to a neural circuit, or any other cybernetic analogy representing a basic structure exhibiting a cell like nature. It is essentially a feminine concept, which tends to enclose energy and therefore information, repeating it’s self like that of a closed-timelike curve, symbolised as an Ouroboros.

It is a cybernetic self-referencing process, which continues to build its self in its own image, which the Tibetan Buddhists perceived as a Tulpa creating Tulpas like its self, amidst a Tulpa realty of a (Maya) thought form. Like a simulation, you have pixels, which are your atoms; these atoms/pixels are programmed to create building blocks such as the (Serpentine) mitochondrial DNA. The DNA are the building blocks of all carbon-based-life-forms. The Carbon atom, has 6 protons, 6 neutrons, and 6 electrons, whose atomic number 666 is the number of all carbon-based-life-forms upon the planet including humanity.

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Finally ‘Noon’ stands for a high principle operating within the cosmos. This is the principle of cosmic indeterminism, which is fundamental to Quantum Physics; whereupon you have a fifth dimensional state, where you simultaneously exist and do not exist like that of Schrödinger’s ‘Pussy’ Cat.

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As an aside of an artistic Seen-tayt-noon conjuration, there was a most curious phenomenon concerning the comic book medium, which manifested as a rebellion against the constraints of the Biblical Comic Code, at the end of the Vietnam war.

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During the end of the Hippie era seventies there were a number of comics investigating certain female archetypes, which are essentially symbolic reversals, such as Warren comics reversal of Dracula, which led to the creation of Vampirella; there was also the Atlas-Seaboard comic, entitled Devilina. In Italy you had the adult comic, Lucifera, which hearkened back to Lucifer’s origins as the Roman Goddess, Diana-Lucifera; whereas Marvel comics had Satanic… Satana.

Vampirella was hugely successful, which eventually led to a film; however her iconic character became fused with the more mythic Satana, when the publishing house of Warren Comics went bust, which was a darn shame; this invariably led to the ascendancy of Satana of a collective focus.

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I still remember reading the Satana comic as a kid, which I utilised as a, I Lucid Dream of Jeannie, grimoire to conjure from, since I considered the medieval ilk of grimoires to be rather boring, whose tomes had no Succubae populating their monkish pages.

Satana is still very much part of the Marvel universe, even though she has since fell out of favour, because of a resurgence of religious conservatism after 9/11, along with a feminist backlash over her skimpy costume. But then, what do they expect, she is described as being a wet-dream Succubus. Her character apparently had interactions with Doctor Strange who is in the offing for a film. Whether Marvel will make a film about Satana is debatable, due to Disney’s involvement, whose studio doesn’t want to inspire many a little boy to whack off under their bed sheets, while howling out barbarous Goetic incantations, over four colour two-dimensional pictures.

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This is more so the case due to Lady Thor Whoopi Goldberg of the Swastika hammer who will probably not be too keen on the idea of a film about Satana, even though her feminist sister in the hood, Oprah Winfrey is into Twilight Porn, 50 Shades of Grey. But then they have to pander to a Christian audience of Mary-quite-so-Contraries, whose shady infatuation for Bad-Boy Vampire-Necrophilia, and Werewolf bestiality, indulges in ensuing Animus fantasies of being dominated by Incubi.

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So, if a mage seeks to understand why the Satana archetype has fallen from grace, he doesn’t have to look too far, when to investigate the feminine hordes collective focus upon their Animus of a Twilight ‘Christian Grey’ Incubus.

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Such a mage might Harry Potter assume the internal guise of Christian Grey in order to engineer a synchronistic meeting with E. L. James, or that of other Hermione Witches like her, of similar big-Vatican-bank accounts, which are being filled with feminist shekels.

In general, it appears that Witches are symbolically driven. Their overriding symbolic fixation upon the male principle can be determined when to look at the present media, which is very much tied up with an ongoing religious focus upon a patriarchal paradigm.

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The Witches symbolic infatuation upon an All Father Animus God, crucified God-Guy Beta-Male and an Alpha-Male Bad-Boy Devil, along with machismo Angels and butch Demons, they themselves had forged around a Christian Grey; hence birthing his dominator culture of an illusory construct. But the quite-so-contrary Marian Witches can’t help themselves, they have been Seen-tayt-noon hardwired that way of a Bene Gesserit genetic imperative.

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