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AVATAR LUCID DREAMS OF BLUE SKINNED GUSION OF PANDORA

Posted in Alien, Chaos Magic, Extraterrestrial, Film, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 13, 2014 by FAUSTUS CROW

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The eleventh Succubus archetype of the Fallen Anima is mantra named, Gusion, who is described as being blue skinned in the Goetia. The blue skin of Gusion has puzzled occultists down the ages. It is likely that Gusion’s skin colour refers to the throat Chakra, which the practitioners of Yoga coloured blue.

During 1583 the Dutch occultist and demonologist, Johann Wier, had created a further symbolic puzzle when he wrote that Gusion (spelled Gusoin and Gusoyn in Wier’s text) manifests, “in the forme of a Xenophilus.” Many an occultist have wrecked their heads over Johann Wier’s usage of Xenophilus, who have come up with numerous colourful theories as to its meaning, and while doing so, avoided the obvious, which they did not want to see.

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The word Xenophilus does not appear in the dictionary, which isn’t at all surprising due to Wier’s Early English text having its own unique way of spelling. Yet it is used in every grimoire description of this spirit since Wier had used the phrase, which is derived from the Greek language.

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The problem is that there are various Greek words, which have been utilised in order to pigeonhole the term Xenophilus into the established structure of the patriarchal grimoires.

Some see the scientific term of Xenopus, being associated with Xenophilus, which is a name for a puffy, South African Frog, which has a variety of psychedelic skin colours.

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The reasoning for looking to the Xenopus, is because the grimoire description has subliminally influenced the visionary state of the conjuring sorcerer; whereupon Gusion is perceived, having a head, which looks something like that of a demonic Frog.

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This is further compounded by the term xenomophoric, which means having an unusual form, being brought about by an internal pressure; hence puffed out. But you also have the word, xenophobis, which means to have a strong dislike of foreigners. Those who have a predilection for conjuring up medieval archetypes will utilise these words as a composite to describe their classical demon.

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However Xenophilus actually comes from two Greek words: Xenos ‘strange’ and -Phile ‘love.’ Whereupon you have, ‘strange love,’ or strange lover’.

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Suffice to say, a traditionalist mage of a heterosexual orientation will find the term Xenophilus somewhat disturbing, who will greatly fear being upended by an Incubus. Hence its true meaning has been overlooked, ignored and duly buried, and what is more, said entity has blue skin, which refers to a pre-Christian influence of a sacred colour.

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Another puzzling word describing Gusion is the term, Cynocephalus; the word refers to the mythical tribe, called the Cynocephali, of ancient Greek reports, who were considered to be a race of dog-headed peoples. Going by the ancient Greek descriptions, though colourful of mythic interpretation, they seem to be describing the Cynocephali as being the aboriginal inhabitants of India.

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Although far more ancient of the pre-Aryan, who appear to be a shamanic hunter, gathering culture. The deity of the Cynocephali was very likely the pre-Aryan blue skinned Siva, since the dog was sacred to Siva, whose spouse is Kali, who is also depicted as having blue skin.

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Should you be a rebellious sorcerer, Gusion can be otherwise conjured up as a Succubus, looking like Kali, who is a great Duchess. She answers all things, present, past and to come, expounding all questions. She reconciles friendship, and distributes honours and dignities, and rules over 40 legions of Succubae.

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As mentioned prior, the blue skin of Gusion leads to an interesting association with India and in turn Hinduism, whose principle deities are usually shown having blue or dusky skin. The colour of the skin is shown as either blue or sometimes black, which symbolises the infinite heavens of space, and in turn inner space. Hindu religion extensively utilises symbolism; wherefore the blue colour is also a symbol. Most ‘Avatars’ of Hindu deities are also shown having blue coloured skin. This doesn’t mean that blue blooded dog headed extraterrestrial aliens had a strange love affair with humanity in ancient times.

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Although, during an interview with Time magazine back in 2007, the film director and producer, James Cameron was asked about his science fiction film title: Avatar, to which he replied, “It’s an incarnation of one of the Hindu gods taking a flesh form. In this film what that means is that the human technology in the future is capable of injecting a human’s intelligence into a remotely located body, a biological body.”

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In Cameron’s film he featured blue skinned humanoids called, Na’vi who are indigenous to a lush habitable moon of a gas giant, situated in the Alpha Centauri star system, named Pandora. The look of the Na’vi was said to have been inspired by a dream that Cameron’s mother had, long before he started work on Avatar.

In her dream, she saw a blue-skinned woman 12 feet (4 m) tall, which he thought was, “kind of a cool image”.

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Cameron also said, “I just like blue. It’s a good colour … plus, there’s a connection to the Hindu deities, which I like conceptually.” Cameron had included similar humanoids in his first screenplay, written back in 1976 or 1977, which featured a planet with a native population of gorgeous tall blue aliens. The Na’vi of Avatar were based on them.

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The film is set in the mid-22nd century, when humans are mining a precious mineral called unobtanium (derived from: unobtainable-uim) on Pandora.

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The expansion of the mining colony threatens the continued existence of a local tribe of Na’vi whose spiritual focus is the great tree of souls, which is the shamanic epicentre of a vast living intelligence connecting all life-forms upon Pandora.

The film’s title refers to a genetically engineered Na’vi body with the mind of a remotely located human, which is utilised as a means to interact with the Na’vi.

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The utilisation of the tree of souls is very much a primary symbol of shamanic practice across the North Central Asian steppe unto Siberia. This is especially the case concerning the elder pre-Christian faith of Northern Europe, where you find the world tree of Yggdrassill, upon which the shamanic deity called Odin hung himself into trance, so that he could assume an Avatar, within whichever inner world of a lucid dream he desired to access.

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Cameron’s film is generally seen to be symbolically referring to the colonial imperialism of the West. However, many tend to forget that the blue skins of the Na’vi also refers to the pre-Christian culture of Europe, which had been decimated by Christian Rome; this led to the imperialist empire building in the first place.

The sacred colour of Odin, like Siva is blue; both of these shamanic deities had a singular eye; wherefore you could conjecture that Odin and Siva are one and the same third eye deity. The Saxon’s knew Odin as Woden; whereas the ancient Briton’s called him Myrddin, who derived a blue dye from Woad seeds to either dye their clothes, or to otherwise paint their skins with, so that they could emulate their deity, just as Hindu’s do, concerning Siva. The first archaeological finds of Woad seeds dates back to the Neolithic.

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Woad seeds have been found in the French cave of l’Audoste, Bouches-du-Rhône in France. Impressions of the seeds of Färberwaid (Isatis tinctoria L.) or German indigo, of the plant family (Brassicaceae), have also been discovered on pottery in the Iron Age settlement of the Heuneburg, Germany. The Hallstatt burials (Hochdorf Chieftain’s Grave) of Hochdorf an der Enz and Hohmichele contained textiles dyed with Färberwaid, Woad dye.

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It appears that Cameron is intuitively tapping into an ancient root of soul memory in his science fiction film Avatar, which can be otherwise interpreted in a shamanistic context. The principle character of the film called Jake has his consciousness technologically projected into a Na’vi construct, being his Avatar. Odin likewise does the same as a shaman, when to have accessed hypnagogic trance in order to leap into a construct of an Avatar within a lucid dream of a Yggdrassill world.

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The depth of trance ingress into a dream is determined by the reptilian brainstem, which of the throat (Da’at) area is associated with the colour blue in regards to a Chakra. The motif of Odin hanging upon the world tree, is not literal, it is a symbolic reference to the throat Chakra; whereupon Odin’s sacred colour is blue and likewise with Siva. Both of these deities are seen as dog headed guides into the realm of dreams, who have shamanic mastery over trance.

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The other principle character of the film is the love interest of Jake, who is a Na’vi female called Neytiri; she appears to have been inspired by Cameron’s mother, who had dream’t of a blue skinned woman. You could, if you feel so inclined, rebelliously equate the blue skinned woman with Gusion.

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Odin has a number of handmaidens called Valkyries, who are essentially Succubae, a Hindu would otherwise call Dakinis. The Dakinis are seen to be the energetic expressions of a female power called Shakti, a Norse shaman would call the Fylgja. Whereas a Saxon sorcerer knows the Fylgja as the Fetch Wife, or Necktie Woman, a ritual magician may recognise as being his (HGA) Holy Guardian Angel.

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Each Valkyrie is associated with an Avatar, which in the Old Norse language is called an ‘Ek.’ A conjured Valkyrie empowers a particular (Avatar) ‘Ek,’ since she is the energetic power of the dream, which surrounds the dream body of the dreamer. In Old Norse, the dream body is termed as the  Hamingja, which has shapeshift (Ek) capabilities.

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The dream is woven by a conjured Valkyrie into an experiential reality around the assumed ‘Ek’ of an Odinic practitioner, who as a howling sorcerer would have probably listed the Valkyries within a Runic code grimoire, hidden behind other forms.

This would have occurred since the Christian’s negated sexuality out of the spiritual equation, who castigated the feminine (Anima) principle into their Hell, along with burning Witches at the stake. Many of the Abrahamic followers of Judaism, Christianity and Islam still consider such Tantric dream practices to be mere pornography.

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You can then see Jake’s Avatar being empowered by blue skinned Neytiri who is his conjured Valkyrie, you can otherwise name Gusion. She is Jake’s strange Succubus lover who has woven the dream world of Pandora around him. But, when to open Pandora’s box, Jake regains the memory of the great tree of souls, whose ancient shamanic legacy has been cut down, and transformed into a cross, which he had inadvertently brought about. But in regaining his memory, he has won back his (Anima) Soul, which Woad skinned Gusion led him back to rediscovering, when he conjured her into his lucid dream, by assuming an ancestral Avatar.

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SIRIUS NUN OF HYPNAGOGIC TRANCE

Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 14, 2014 by FAUSTUS CROW

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A Nun is commonly seen to be a member of a religious community of women, typically one living under vows of poverty, chastity, and obedience. The term ‘Nun’ is not only applicable to Catholics (Eastern and Western traditions), Orthodox Christians, Anglicans and Lutherans, but also to Jains, Buddhists, Taoists, Hindus and some other religious traditions.

The term of Nun is very likely derived from the fourteenth letter of many Semitic abjads, including Phoenician, Aramaic, Hebrew and the Arabic alphabet nūn (in abjadi order).

Nūn is also the third letter in Thaana, pronounced as ‘noonu.’ Its sound value is (n). The Phoenician letter gave rise to the Greek nu (Ν), Etruscan N, Latin N, and Cyrillic Н.

The letter Nun is thought to have come from a pictogram of a snake (the Hebrew word for snake, nachash begins with a Nun and snake in Aramaic is nun) or eel. Some have hypothesized a hieroglyph of a fish in water for its origin (in Arabic, nūn means large fish or whale).

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The Phoenician letter was named nūn “fish”, but the glyph has been suggested to descend from a hypothetical Proto-Canaanite naḥš ‘snake,’ based on the name in Ethiopic, ultimately from a hieroglyph representing a snake.

The Nun snake is referring to an amphibious creature, which was originally derived from the ancient Egyptian ‘Nu’ (nuː ‘watery one’), also called Nun (nʌn or nuːn ‘inert one’), which is the deification of the primordial watery abyss in Egyptian mythology. In the Ogdoad cosmogony, the word ‘Nu’ means ‘Abyss.’

The Ancient Egyptians envisaged the oceanic abyss of the Nun as surrounding a bubble in which the sphere of all life is encapsulated, representing the deepest mystery of their cosmogony, which basically refers to the amniotic waters of the womb.

In Ancient Egyptian creation accounts the original mound of land comes forth from the waters of the Nun.

The Nun is the source of all that appears in a differentiated (Maya/simulation) world, encompassing all aspects of divine and earthly existence.

In the Ennead (nine dimensions) cosmogony Nun is perceived as transcendent at the point of creation alongside (mound of land) Atum the creator God, who is sometimes symbolised as a pyramid (cosmic mountain = physical body/hologram) of (bio-photon) light amidst the amniotic waters of Nun.

Nu was usually depicted as a male, this is because he represents an adept of trance who is able to access the amniotic source of all form, which is basically the realm of the (womb) dream. Nunet (ˈnuːˌnɛt also spelt Naunet) is the womb of the feminine , which is the name of Nu with a female gender ending.

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The male aspect of Nun, is written with a male gender ending. As with the primordial concepts of the Ogdoad, Nu’s male aspect was depicted as a Frog, or a frog-headed man.

In Ancient Egyptian art, Nun also appears as a bearded man, with blue-green skin, representing water; while Naunet is represented as a snake (DNA) or snake-headed (mitochondrial DNA) woman.

The symbolism of the amphibian refers to trance ingress into the amniotic waters (inner space) of the womb (electron) dream, which reflects back the internal issues of the dreamer. When to become conscious within the dream, the dreamer is then enabled to transmute the leaden symbolism of the dream into a golden understanding via the utilisation of symbolic alchemy, which is essentially the practice of art. Hence you have a painted cave wall, leading to canvas. The practice of art is inextricably linked with the evolution of consciousness, a Surrealist, in particular will understand, who is aware that the first shaman was an artist, dreaming surreal dreams.

The encountered symbolism of the dream is emanating from a deeper level of communication with an inner intelligence, since your electron dreams are illuminated by the bio-photon emanating from the mitochondrial (serpentine) DNA, which is passed down from the mother to her children.

Whereby you have the Naunet symbolism of the snake-headed woman. The symbolic information she imparts via your dreams is derived from the passed down genetic archives within each and every one of your watery cells. You will also find that serpentine symbolism often manifests in Ayahuasaca visions of the (eleventh dimensional/Da’at) Abyss.

The amphibious symbolism of Nu is also associated with the Nommo’s, who are mythological ancestral spirits (sometimes referred to as deities) worshipped by the Dogon tribe of Mali. The word Nommo is derived from a Dogon word meaning ‘to make one drink.’ The Nommo’s are usually described as fish-like, phallic headed, amphibious creatures.

Folk art depictions of the Nommo’s show creatures with humanoid upper torsos, legs/feet, and a fish-like lower torso and tail. The Nommo’s are also referred to as ‘Masters of the Water, the Monitors, and the Teachers.’

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The Nommo’s refer to ancestral shamanic adepts who are able to attain conscious trance ingress into the watery realms of the amniotic dream, which is associated with a (mitochondrial DNA) planet of women, called Emme ya, from where all souls come from.

Trance ingress into the electron (womb) dream (bio-photon) realm of Emme ya was conducted around the (Circadian rhythm) rising of Sirius. However, during the 1970’s a book by Robert ‘Temple’ entitled: The Sirius Mystery popularized the traditions of the Dogon concerning Sirius and the Nommo’s, for all the wrong bubblegum reasons, which was later shot down.

In The Sirius Mystery, Temple advanced the conclusion that the Dogon’s knowledge of astronomy and non-visible cosmic phenomenon could only be explained if this knowledge had been imparted to them by an extraterrestrial race, which had visited the Dogon at some point in the distant past.

Temple associated an evocative science fiction species of humanoid amphibians, of similarity to Biblical Demons to the legend of the amphibious Nommo’s.

He contended that the Nommo’s were extraterrestrial inhabitants of the Sirius star system, who had travelled to Earth at some point when humanity was sill in its infancy, and that these extraterrestrial fallen Angels had imparted (sinful) knowledge about the Sirius star system, as well as our own Solar System to the Dogon tribes.

The reason why Temple postulated such a notion is that he, like many others of an indoctrinated Abrahamic mind-set are quite unaware that conscious trance ingress into the dream can enable a shaman to (lucid dream) remote-view such information, which is sometimes facilitated by ingesting power plants. Although said power plants were banned by the ‘Roman’ Catholic church because the priests didn’t like the competition. Whereupon the church systematically persecuted the ‘horned’ shaman as their Devil.

Another author, named, Zecharia Sitchin  had postulated similar theories to those of Temple. Sitchin was on very good terms with the hierarchy of the Vatican. He proposed an explanation for human origins involving ancient (Angel) astronauts, which evolved the Biblical paradigm into the arena of UFO’s.

Sitchin attributed the creation of the ancient Sumerian culture to the Anunnaki, which he states was a race of amphibious extraterrestrials of similarity to the Nommo who had come from a planet beyond (Cabbala: Kether) Neptune called Nibiru, the Dogon to otherwise call Emme ya.

Sitchin’s ideas heavily influenced David Icke’s theories concerning reptilian humanoids influencing human society, which invariably led to a New-Age Witch hunt for amphibian Demons.

The symbolism of the amphibious reptilian, such as the Anunnaki actually refers to a shamanic trance adept, which as mentioned prior are symbolically represented as a serpent or a fish in ancient art.

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The fish symbolism was also utilised by the early Christian’s concerning their (crucified Oannes) Christ; however, their symbol of the fish is originally derived from the symbol of the (Vesica Piscis) Vesica Pisces.

The Vesica Pisces is a shape, which is made up of the intersection of two circles with the same radius, intersecting in such a way that the centre of each circle lies on the perimeter of the other.

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The two circles represent, the amniotic waters of the ‘microcosmic’ dream, being one circle, and your waking reality of the ‘macrocosm,’ is represented as land, being the other circle.

When the two circles of water (Microcosm/Implicate Order/Nagual/Inverted Pentgram) and land (Macrocosm/Explicate Order/Tonal/Upright Pentagram) are intersecting you then have the (superimposition) mid-point of (amphibious) hypnagogic trance, at the ‘almond’ shaped centre. Hence a trance adept of a shaman is symbolically represented as an amphibian, such as a Frog, Serpent, Fish or other reptilian creatures like that of a Dragon, for example.

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The name Vesica Pisces literally means the ‘bladder of a fish’ in Latin. The shape at its centre is called the mandorla, ‘almond’ in Italian, which refers to the ‘Vaginal’ orifice. The reasoning for this symbolism is because, when accessing trance at the hypnagogic point of sleep, you will sense your conscious awareness being ‘ejaculated’ out of your body into the domain of the dream, which is symbolised as the ‘womb.’

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Hypnagogic trance ingress through the Vesica Pisces portal can be equated with a (Vaginal) Stargate; this is more so the case, since the Dogon (Nommo/Phallic headed Fish) trance adepts journeyed into inner space around the rising of Sirius. This had occurred in league with the (Ninth-Gate/Yesod) full Moon, which the ancient Egyptian’s had observed marked out the rising of the Nile.

The gravitational pull of the Moon not only has an affect upon the tides of the Earth, it also affects the depth of dream-states; whereupon the grimoires make mention that conjurations are best done when the Moon is in a certain phase. The trance adepts noted that it is easier to access trance when Sirius marked out a Moon phase time when its pull affected their dreams, which enabled them to consciously access the watery (Nun) womb domain of the dream. The domain of the dream is symbolically represented as the planet of (Nun) women, Emme ya, where the Succubae of ‘Lilith’s Harem’ can be encountered.

Sirius symbolically correlates with an inner Sun, which (bio-photon) illuminates your electron dreams. The symbol of the inner Sun, is also represented as the ‘black Sun,’ which is in turn associated with the God-Sun/God-Son, Crucified (Trance-Fish/Nommo) Christ, who equates with the shaman.

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Hence you have the symbolism of the Nun, who traditionally eats (crucified) Fish on (Venus-Pentagram) Friday’s.

NOTE: There are those who sincerely believe in the existence of the Nommo, Annunaki, Reptilians or even Mermaids as being alien entities, etc, who will consider the above material to be against their viral-meme beliefs, and that the realm of dreams are just the phantasmagorical miasma of the mind. 

Everything that you experience via your Five-Pentagram senses is interpreted by your brain. Hence, what you consider to be reality exists within your head. The archetypal reality of the aforementioned creatures of myth does not mean they are not real; for within the dream, their macrocosmic depictions of symbolism can become microcosmic interactive realities.

There are differing layers of the dream, whose oceanic (Nun) depths reveal realities, which are indivisible to what you would consider to be physical reality; in fact, their domains will be experienced to be more real than real. What you believe will determine what you tune into, like that of using (Mantra) Key-Words, when ‘Browsing’ the (Dream) internet.

Truth is often far stranger than fiction; you have in your midst a quantum computer, which of a technology makes quantum computations in parallel universes, where alternate realities exist. The technology is merely copying nature, which reveals that your own brain is making quantum computations in other alternate realities via alternate selves. The ‘Browsed’ information manifests within your watery (Nun) dreams. 

The technology of your ancient ancestors concerned its self with exploring consciousness; they used their own brains to do so. Their technological language was communicated symbolically; hence, when a shaman attained an amphibious (hypnagogic trance) state of consciousness, the shaman was symbolised as an amphibian, fish or as a reptile.      

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