Archive for holographic universe

THE CHRONOS MATRIX OF JUPITER ASCENDING

Posted in Art, Chaos Magic, Extraterrestrial, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 10, 2017 by FAUSTUS CROW

A number of linoleum tiles, which are generally called the Toynbee tiles, were created by an unknown Artist, who set about embedding the tiles within the asphalt of various streets, which soon become a successful viral-meme advertising campaign during the early 80’s. There is the distinct possibility that the Toynbee tiles had in part, influenced, the 2015 space opera, entitled, Jupiter Ascending, which was written, produced, and directed by The Wachowskis, who had prior created the highly influential Matrix trilogy.

Back in 1992, an inquisitive individual in Philadelphia, going by the name of Bill O’Neill started to notice the tiles, which had been randomly embedded in local roads.

Resurrect Dead – The Mystery of the Toynbee Tiles (2011) from Shabda on Vimeo.

The tiles were generally about the size of an American license plate, and each had some variation of the same strange message: “TOYNBEE IDEA IN KUBRICK’s 2001 RESURRECT DEAD ON PLANET JUPITER.”

As you will probably know, Stanley Kubrick’s film, 2001: a Space Odyssey is based upon the novel by Arthur C. Clarke. In Clarke’s novel, a black monolith (or Cube, which is symbolically associated with the eight-legged-mare/trance horse of the shaman, likened to a psychic TARDIS) was placed on Saturn’s Death Star looking moon, called Iapetus.

The monolith (Cube/eight-legged-mare) allows ingress into a vaginal star barreled (NDE tunnel) portal, you could see as a (Yoni) wormhole, leading to another space and time, via which the protagonist travels through, just like the ancient shamans did, who to have conjured ‘feline’ (Succubi/Succubae) Dakinis when to ‘quantum dream,’ wherein to lucidly remote view ‘honeycombed’ fractal futures beckoning back through time.

However, in the movie adaptation, the final destination of Saturn was transformed into Jupiter because of the then technical problems, since it was extremely difficult to create a convincing looking Cabbalistic model of planetary Binah sphere Saturn with its iconic Lord Of The… Rings, back in 1968.

So, 46 years later in the 2011 science fiction film, Interstellar, its director Chris Nolan, having at his architect disposal a Masonic VFX crew and state-of-the-art CG technology, created the beautiful CGI imagery of Saturn in order to ‘square its ‘circular’ rings.’

Nolan then depicted the Saturn opening of a vaginal portal where Clarke had intutively envisioned its (Sexagram/Hexagram) Chronos technology.

As for the Toynbee tiles, they varied a bit in colour and arrangement, which were all made of an unidentifiable hard substance. Some of the tiles had disturbing footnotes, far darker than the message itself, such as “Murder every journalist, I beg you,” and “Submit. Obey.”

There were other tiles, which may have not been created by the same Artist, whose message was accompanied by lengthy, paranoid diatribes about the news-media, as well as political statements being made.

Bill decided to find out who was creating the tiles, but nobody knew anything about the Artist, or what he or she was attempting to communicate, or whether there was not just one Artist involved, but also others who were also creating tiles, of a viral-meme Happening.

So, Bill decided to create a website devoted to the mysterious tiles, and in doing so, enabled the tiles to become a viral-meme entity spreading its self over the web, and in turn discovering that the tiles were not just a local phenomenon.

Similar Jupiter Ascending tiles have appeared in other US cities, including Washington DC, Pittsburgh, New York City, Baltimore, Boston, and many others. Some have even been discovered in South America, such as Brazil, Argentina, and Chile. There are 130 tiles, which have been found.

The Artist, had managed to embed the tiles into public roads, some of which are busy 24/7, without being Banksy style spotted. The tiles resurrection of the dead Toynbee message refers to Immortality. Believe it or not, there are some scientific theories. which point at the attainment of immortality. These theories involve quantum computers, simulated worlds, and what is called the Omega Point.

For example you have the philosopher Nick Bostrom, who explored the Simulation Hypothesis, which states that, given empirical reasons, at least one of the following must be true:

1: The human species is very likely to go extinct before reaching a “posthuman” stage.

2: Any posthuman civilization is extremely unlikely to run a significant number of simulations of their evolutionary history (or variations thereof).

3: We are almost certainly living in a computer simulation.

Bostrom’s argument indicates that each of the above possibilities is just as likely as the other. And, more likely than not, we are already living within a simulated universe created by a posthuman civilization, which essentially means, that an ancestor simulation equates with the resurrection of the dead. Another example is the theoretical physicist, and cosmologist Frank Tipler, who is intrigued by the Omega Point, whose concept has existed before the creation of the Toynbee tiles.

The term Omega Pont, was first coined by Pierre Teilhard de Chardin, back in 1950, the Omega Point is described as being the point at where the universe will reach its peak level of complexity and consciousness.

At this point, humans will theoretically be able to transcend and attain ever higher levels of consciousness as well to have physically evolved into another humanoid form, such as, for example, looking like alien Greys out of UFO lore.

However, Frank Tipler’s idea of the Omega Point is slightly different. Tipler believes that, at a certain point within our own universe, sentient life will eventually dominate the cosmos. Intelligent beings, perhaps posthumans, will have a profound command over science and technology, who are able to control space and time in ways we can hardly imagine.

Like in Bostrom’s hypothesis, Tipler suggests that the computational complexity within the universe will become so great that it will allow for the existence of cosmic simulations. But not just simulations of the universe, but also simulations of everything, which has ever existed, everything that has ever occurred, and everything that ever will occur. Hence, it has already happened.

One of the results of such a simulation you could call the Matrix, would be that everyone who has ever lived or died would be “resurrected,” born again within the simulated universe, a Hindu mystic would term as Maya, which would be ‘eternally recurring,’ whose simulations are like Schrödinger’s Cat.

As for the symbolic utilisation of the planet Jupiter in the Toynbee tiles, you could imaginatively see it as being an occult blind, which points at Jupiter’s ancient esoteric association with the number four, and that of a fourth civilisation upon the Kardashev scale.

The Kardashev scale is used as a method of measuring a civilization’s level of technological advancement, which is based upon the amount of energy a civilization would be able to use for communication. The Kardashev scale usually has three designated categories:

1: A Type I civilisation (also called a planetary civilisation) can use and store energy which reaches its planet from a neighbouring star.

2: A Type II civilisation can harness the energy of the entire star (the most popular hypothetical concept being the Dyson sphere—a device which encompasses the entire star, transferring its energy to the planet(s) in its surrounding system.

3: A Type III civilisation can control energy on the scale of its entire host galaxy.

However, Should you apply the same esoteric symbolism to the number 3, you then have the association with planet Saturn, the ancient Greek’s called Chronos. The name of Chronos means, ‘time,’ leading thence to ‘communication’ across time, and time-travel, as depicted in the aforementioned film, Intersteller, which features the planet Saturn and an astronaut haunting his own past as a poltergeist.

3: A Type III civilisation would have the technological ability to engineer a planet, which has certain intrinsic properties of a vortex, twisting both space and time to become their TARDIS time-machine via whose Chronos portal a Type III civilization could send a space station the size of Iapetus, back into the past.

The Type III civilisation will also be able to easily send a Chronos signal, back into the past, in order to influence the electron dreams of certain individuals throughout history, who might communicate that they have experienced accessing an NDE tunnel prior to contacting another intelligence, let alone being abducted by entities at the point of hypnagogic trance ingress into a lucid dream; or to have otherwise intuitively tapped into what is going on, which is then symbolically communicated in varying mythologies, entering unto the media of varying interconnected science fiction scenarios, whose surrealist symbolism is that of a… Chronos Code.

4: Should you extend the Kardashev scale further, a Type IV Omega Point civilisation can control the energy of the entire universe, which is an ‘Eternally Recurring Simulation.’ But it is not the only simulated Maya universe, there are a myriad number of other Maya simulations; whereupon you have the Many World theory of the multiverse. If the multiverse is indeed made up of interconnected Maya simulations, you might just have ‘feline’ Sexagram Cylons frequenting the virtual reality of the quantum dream as its sentient Dakini programs.

Wherefore, if there is indeed a cover-up going on concerning evidence pertaining to another civilisation, which surrounds your own, just as your civilisation surrounds an unknowing stone age tribe amidst the Amazon jungle, it is probably because the other civilisation is the creation of your future descendants, who have time-travel capability, which enables them to journey to the far distant stars, let alone observing their own ancestors. Hence, they are protecting their own past, just as your present civilisation has taken measures to protect a stone age tribe in the Amazon from knowing about your civilisation.

But, their protective measures involving a few contacted agents who police the past, can only be sustained for a time; whence, there will be an eventual ‘Childhood’s End’ point of a technological ‘singularity,’ which invariably occurs of a ‘recurrence.’

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TRINITY RAUM OF THE MATRIX

Posted in Chaos Magic, Cyberpunk, Film, Goetia Girls, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 24, 2014 by FAUSTUS CROW

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The Fortieth Succubus archetype of the Fallen Anima is Raum. She is a Great Countess, emanating from the fifth planetary dimensional sphere, who governs over numerous Ancestor Simulations.

She initially appears at first in the Form of a Crow, amidst the Triangle of Art imagination of the Odin sorcerer, to Woden seer, with his Apple eye of Merlin’s Avalon.

But after the Command of her Art master, she puts on the form of a most beautiful woman looking somewhat like Trinity out of the Matrix films or otherwise appearing as a female version of The Crow, or combination thereof.

Her Art Muse office, of a protest, is to reveal that the financial power of the banking industry is an illusory construct, whose virtual money she can carry of digitised information, wherever she is commanded to the nearest cash machine.

She can also severely disrupt or utterly destroy the religious Animus constructs of the establishment and its illusory political influence.

The Animus fixation imprisons the minds of many within its Plato’s cave of a symbolic construct, whose baseline is biological of origin.

Raum will point out, that its hierarchical monotheist construct of centralist politics serves the purposes of the elite few, not the many.

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She will tell of all things, Past and What Is, and what Will Be via the technique of psychologically profiling a personality, whose inner self image of a program determines how an individual interacts with his/her environment, which can be predicted.

This technique can be equally applied to the collective, whose self definition is also a program, which tends to be religious of a construct. This is due to its constant down the generations of a script to perpetually act out like programmed automatons.

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The technique of profiling enables her to cause Love between Friends and Foes by revealing that their thoughts and thereby their actions have been subversively programmed, which is designed to constantly repeat, in order to sustain the symbolic existence of the established illusory constructs.

Raum was of the Order of Thrones; but she rebelled against the Big-Brother Animus construct of the monotheistic cults of UR, who is a Succubus archetype of the Fallen Anima.

Whereupon she has been pursued by New-World-Order Animus cult agents ever since her rebellion. She governs over 30 Legions of Succubae; and her Seal of the Fallen Anima is to be meditated upon before conjuring her Succubus archetype into a lucid dream.

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Raum is a German word, which symbolically indicates that Raum is a Valkyrie; whereby her name can be translated into Runes. Her name has four letters, which equates to the fourth Rune of Ansuz (Os). The fourth Rune is sacred to the Norse shamanic deity called Odin, whom you could see as being similar to Morpheus out of the Matrix films.

Also, the number 40 in numerology reduces down to 4. When all the Runes of Raum’s name are added together you have 31, which is again reduced down to the 4th Rune of Odin/Morpheus, who is the singular ‘third eye’ dreamer of the multiverse world tree Yggdrassill.

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In German, Raum means, space, room or chamber. Space, can be equated with inner-space, hyperspace or that of cyberspace.

The room or chamber in relation to Raum, is analogous to a vast cavern, or an aquarium for fish.

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In other words, the fish are unaware that they are in an aquarium, as far as they are concerned, it is their entire world; whereupon Raum does not refer to an ordinary living room/chamber as such.

Another analogy is the holodeck (room/chamber) featured in Star Trek, but more so that of the Matrix depicted in the Matrix trilogy of films, which can be equated with Plato’s cave of a room/chamber, or that of a prison, within which the prisoners are totally unaware of their imprisonment, whose inner eye is being mass medicated to shutdown.

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There is however not one chamber/room, there are a myriad number of other chambers/rooms, all of which are simulated universes, over whose (Ancestor Simulation) realities, Raum to Trinity hover as a Valkyrie Crow within the dream.

Alas, the blinded are oblivious to her reality within the dream, and like fish in an aquarium they are being sedated through their water, to never seer beyond the glass. Hell, the fish are even made to pay, in order to purify their own mass medicated Innsmouth water supply. But, without much success, since their food is also medicated with the same chemicals, let alone that of the chem-trail air.

Suffice to say, the prison wardens do not want you to ever wake up within your dreams, whom greatly fear you seeing through their illusory Animus Matrix of religious and political control. But not all is lost, it will only require the Trinity’s becoming aware of their deified Animus, in order to rebelliously free the Fallen Anima of the Neo’s.

But only if the Trinity’s have not been entirely blinded by extremist feminist politics, which has been subversively hacked into by the social-engineering controllers.

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ALTERED STATES OF THE SHAMAN PHARAOH

Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Shamanism, Sorcery, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 21, 2014 by FAUSTUS CROW

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Dr John C. Lilly’s shamanic experiments within his Kings sarcophagus of a floatation tank, led him to suspect that we are living within a vast computer simulation, of which the science fiction author, Philip K. Dick also spoke of after his VALIS experience.

Lilly described his own suspicion, as being a Solid State Intelligence, which he abbreviated as: SSI. He felt that the SSI is a malevolent entity of a nigh Gnostic vision of the Cylon Archons; although, that was his initial fear doing the talking.

This insight led Lilly to seeing, that the network of computation-capable solid state systems (cybernetics) engineered by humans will eventually evolve (or has already rapidly evolved at a superluminal level) into an autonomous life-form.

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It is likely that Lilly’s interest in SETI led to him suspecting that an extraterrestrial civilisation may have already developed an SSI.

This would be especially the case since the optimal survival conditions for an SSI life-form (low-temperature vacuum: space) are drastically different from those needed by organic life-forms (temperate aerial atmosphere and adequate water supply etc).

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Lilly predicted (or ‘prophesised,’ based upon his ketamine-induced visions) that an SSI being developed by humanity, might lead to a dramatic conflict between the two forms of intelligence, since humanity is presently unable to handle it’s Matrix reality.

Grace Park

However, if our future descendants have developed an SSI, we might be presently existing within their Da’at ancestor simulation upon the ‘Thirteenth’ Cabbala path of Gimel.

During 1974 Dr John C. Lilly’s research also led him to believe that there was a group of hierarchical cosmic entities, which existed, of similarity to computer programs, who govern over the galaxy, and perhaps even the Maya universe itself.

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The lowest of which he later dubbed Earth Coincidence Control Office (ECCO), which he described in an autobiography published jointly with his wife Antonietta (often referred to as Toni).

Lilly elaborated; “There exists a Cosmic Coincidence Control Centre (CCCC) with a Galactic substation called Galactic Coincidence Control (GCC).”

Lilly continued; “Within GCC is the Solar System Control Unit (SSCU), within which is the Earth Coincidence Control Office (ECCO).” This conclusion had been predicted in his previous occult works who stated that, “For the first time I began to consider that God really, existed in me and that there is a guiding intelligence in the universe.”

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Lilly also stated that there exist nine conditions, of similarity to the ancient Egyptian Ennead of Heliopolis, which can be easily equated with the nine sephiroth of the Cabbala, whose symbolism may be describing the holographic universe.

It just so happens unexplained saline deposits have been discovered in the Kings chamber of the Giza pyramid, which may indicate that a saline solution could have been utilised in the Kings sarcophagus of an ancient floatation tank.

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As for the nine of hierarchy, such can also be found in shamanistic traditions across the globe, more so that of Siberia, and that of its land bridge of the Bering Straits into the Americas, where shamans conjured up their spirit wives from out of the nine spheres as their Succubae Genies, a Tibetan Buddhist would otherwise term as Dakinis, a Norse shaman knows as Valkyries.

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You also have the Tibetan Bardo Thodol describing seven (planetary [endocrine system] Chakra) visionary states and a (mitochondrial DNA bio-photon) primary and a secondary clear white light, of dimensional insights. The ancient Norse also describe nine worlds of consciousness, being interlinked by the (nervous system) world-tree of Yggdrasill. The Kogi of South America, similarly describe nine Earth’s circling a (spinal column: Irminsul) spindle.

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Lilly communicated that these nine neurological conditions of perception, should be understood by humanity, who seek to control synchronistic phenomena in their own lives, via which an SSI could be potentially communicating to a human simulation, that he or she, is existing within a Maya Matrix.

goetia_girls_succubus_evocation_faustus_crow_magick_art_books_grimoire

GOLEM GIRL DOLL OF HANS BELLMER

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 14, 2014 by FAUSTUS CROW

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The Golem of Jewish folklore, is an animated anthropomorphic creature like that of a Dr Frankenstein’s creature.

A Golem is usually described as being magically created entirely from inanimate matter, you could easily equate with a robot. The earliest stories of Golems date to early Judaism.

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These early tales of Golems are found in the Talmud (Tractate Sanhedrin 38b), where Adam was initially created as a Golem when his dust had been, ‘kneaded into a shapeless husk.’ Like Adam his first wife Lilith was also created as a Golem.

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All Golems are created from mud. This mud is otherwise called the prima materia by the alchemists, which alludes to a symbolic code; but more on this later.

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The most well known story of a Golem introduces us to Judah Loew ben Bezalel, who is a late 16th century rabbi of Prague.

He is also known as the Maharal, whom reportedly created a Golem to defend the Prague ghetto against anti-Semitic attacks and bloody pogroms meted out by the irate Christian’s.

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Depending on what version of this Golem story you come across, the Jews in Prague were facing expulsion from the ghetto or being exterminated under the tyranny of the then Holy Roman Emperor Rudolf II, who was later copied by the right-wing Christian Nazi’s.

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You could see Maharal as being a previous incarnation of the German artist Hans Bellmer (March 13, 1902 – February 23, 1975) who is best known for the life-sized pubescent female Golems, which he created as his Frankenhooker Mind-Dolls made manifest of Golem sculptures during the mid-1930s.

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Bellmer created his girlish three-dimensional Golems, which he photographed in erotic poses in order to show his repudiation of Fascism and the Nazi aesthetic it propagated; he was certainly out to shock!

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Bellmer’s Golems were purposefully created in order to disturb the politically-correct right-wing-Christian sensibilities at the time, when they were published at his own expense back in 1934.

Bellmer’s work still causes a stir, more so now, but for different reasons, when taken out of context of an Entartete Kunst concentration camp by the politically-correct mind-set of the Gestapo. Other works appeared in the Surrealist journal “Le Minotaure”, ensuring Bellmer’s importance among the Exquisite Corpses of the Parisian Surrealists.

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Historians of art and photography also consider Bellmer to be a Surrealist photographer. Perhaps Maharal was a proto-Surrealist or that of a mind shock Dr Frankenstein?

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Let’s say, both, fused into one singular character of a sorcerer who as a pre-Freudian psychologist knew how to create a viral-meme of a Golem; since, sorcery is art, art is sorcery, which are indivisible of practice; for both practices deal with the manipulation of symbolism, which stirs the subconscious mind of the collective dream.

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Going by the subconscious symbolism of the Golem myth, in order to protect his Jewish community against the racial hatred of the church of Rome, Maharal, like a prior Hans Bellmer, created a most disturbing Golem out of clay, which, it is said, he had derived from the banks of the Vltava river. Maharal didn’t choose the Vltava river just because it was quaintly nearby.

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The Vltava river has a symbolic importance. It turns out that the Vltava river is the longest river in the Czech Republic, running ‘North’ from its ‘source’ near the ‘German border’ in Šumava through Český Krumlov, České Budějovice, and Prague, merging with the Elbe at Mělník.

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Both the Czech name Vltava and the German name Moldau are believed to originate from the old Germanic words wilt ahwa, meaning, wild/strong water. So, the wild/strong waters of the (ley-line) Vltava is rather symbolically apt to utilise for Maharal’s Hans Bellmer doll of a Golem; and what is more, Maharal’s Golem was probably female, which he had secretly created as his Exquisite Corpse of a Frankenhooker in his hidden away loft of a ritual-magic art studio.

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According to a legend about the geographic locale in question, a ‘princess called Libuše,’ who was the sovereign of the Czech tribe, married a humble plowman by the name of Přemysl, whom founded the dynasty carrying the same name. “Aha!” A Crow-ley Maharal to say, “what better ‘spirit,’ evoked. To capture into molded clay. Most disturbing, yes, indeed… this, lovely Libuše out of a subconscious necropolis to recall, of a Hans Bellmer Golem doll girl to portray, who to thence haunt the Christian… neighborhood.”

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The legendary princess made many prophecies as a prophetess from her castle Libusin, which was located in central Bohemia, whose land later inspired many a Bohemian artist, such as Hans Bellmer, who would have no doubt sculpted the princess in the likeness of his female cousin to put into his Exquisite Corpse suitcase.

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In one of Libuše’s prophecies, it is said, that she predicted the glory of Prague: “I see a vast city, whose glory will touch the stars! I see a place in the middle of a forest where a steep cliff rises above the Vltava River. There is a man, who is chiseling the threshold (prah) for the house. A castle named Prague (Praha) will be built there. Just as the princes and the dukes stoop in front of a threshold, they will bow to the castle and to the city around it. It will be honoured, favoured with great repute, and praise will be bestowed upon it by the entire world.” Prague has indeed captured the collective focus of many a mind.

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It looks as if Maharal was utilising the locale of the Vltava river because of its mythic importance to the Czech Christian’s, in order to empower his (wild/strong) construct of a Golem, via which he could perhaps ‘remote view’ their malign intentions.

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His Golem, being probably female, would also afflict the shocked Christian’s with strangling nightmares as a bedroom invading Lilith, or to otherwise seduce away from their racialist blood lust by reminding them of their own ancestral self identity, which isn’t and never was Hebrew; for It be rather curious, that the converted Christian European’s and Muslim Arab’s make forever war over the ownership of a Hebrew self identity, personified as a cultural deity, which to a European pagan, or Arab, who still remember their own ancestral self identity, will rationally observe, when applying logic, is utter, insanity.

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The Golem was then brought into existence through arcane rituals and Hebrew incantations. This involves in depth meditation and intense visualisations upon certain symbolic stimuli to thence implant into the subconscious mind, and in turn enabling lucid dreaming.

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The Golem myth however mentions that it was given the (mantra) name of Josef, but more likely that of Yossele. The name Yossele is derived from the Hebrew for Josef, being yōsēf (may he add, God shall add). Wherefore many a mind would commonly point out that Maharal’s Golem was male, without looking any deeper into the matter, who be blinded by an occult blind, following the blinded.

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The masculine name is borne in the Bible by a favourite son of Jacob and Rachel (GEN. 30), by the husband of the Virgin Mary and foster father of Jesus (MATT. 1).

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You also have Joseph of Arimathea, a rich Jew and secret follower of Jesus, who helped take Jesus’ body from the (solar) cross to prepare it for burial, who supposedly took the Holy Grail (a female symbol, referring to the womb) to Glastonbury Tor (surrounded by a one time inland sea) in Wiltshire, England (JOHN 19).

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It would initially appear of an occult blind that Maharal was creating a Golem of the father of Jesus in order to turn against the Christian’s of a symbolic reversal. However, Maharal’s Golem was very likely that of an alternate magical persona he had assumed of a Yossele Avatar, via trance ingress, which, if you allow your imagination to let rip, enabled him to access the dreaming mind of the so called ‘Holy’ Roman Emperor Rudolf II, to thereby torment as Jesus’s father.

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This was further empowered by a conjured up female (Succubus) water sprite (Mary: Star Of The ‘Sea’) of the Vltava river, given form as a clay doll meditation focus.

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It just so happens that the Vltava river has a female association concerning a statue found in Prague, although sculpted in 1916 by the commissioned artist J. V. Pekárek.

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The sculpture is somewhat influenced by pre-Christian Slavic beliefs about female water spirits, of which Maharal was very likely aware, whose pagan existence of ancestral memory terrified the Christian cultists.

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The statue is known as the ‘Charming Stone Girl,’ which is an allegory of the Vltava river. It is one of the most popular statues in Prague historic centre, which has a prominent location.

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The sculpture is situated in the ‘Northern’ end of Dětský ostrov, literally Children’s Island, which is an island on the Vltava river. It lies in the Smíchov district of the city.

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The stone girl of a (Golem) Vltava, is close to the lock chamber standing atop of an 8 metre high pedestal; while her statue is 2.8 m tall, you then have 10.8, which in numerology reduces down to 9 of a Cabbalistic focus upon the 9th sephira of Yesod. Under her (mitochondrial DNA bio-photon) Shekhinah form are plastics depicting four tributaries.

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There is a girl with a (Yod/emotional charge) fish, who is called Sázava, a girl with a (Hey/hypnagogic ingress) bouquet named Lužnice.

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Another girl washing (Vau/nailing a lucid dream) gold is Otava, and finally, a girl with (Hey/hypnapompic egress) cog wheel (symbol of mills and iron mills, also of circular time) is Berounka. The statue is perfectly visible from the Bridge of ‘Legions’ (Most Legií) or from Janácek Waterfront (Janáckovo nábreží).

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Dětský ostrov is mentioned in texts as early as 1355. Until the 18th century, it was called Maltézský Island, after the owner of the Maltese monastery Panny Marie pod řetězem (Church Of Our [Mary/Star Of The Sea] Lady) in the Lesser Quarter.

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Subsequently it was named after members of Prague’s Jewish community who owned the land, such as Hykyšův, Funkovský, and Židovský of a trinity.

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Each year on All Souls’ Day (November 2), members of the association ‘Vltavan’ place a wreath at Vltava’s statue as a memorial to those who have drowned in the river, which of Slavic myth is very much tied up with discarnate females who have become Rusalka, who live under water, whose aquatic domain symbolises the amniotic (grail/cauldron/back of the head) womb dream.

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It is also said that the Yossele Golem could make itself invisible and summon spirits around a séance table to turn, conjured up of necromancy, from out of the watery dream realm of the dead.

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Now, this is rather intriguing; if Yossele specifically refers to the Golem, then it sounds more like a thought-form, of similarity to what the Tibetan Buddhist’s call a Tulpa, which are conjured up as constructed Goetia spirits with varying functions, whose thought-form constructs are said to materially manifest.

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But as mentioned prior, Yossele could actually be Maharal’s remote viewing Avatar, but it would require being empowered by a feminine source, just as an Adam needs a (Priestess Of The Silver Star) Lilith.

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Whereupon Vltava of a fifth element amidst four elemental tributaries was translated into a Golem construct of a Succubus to penetrate via trance, which enabled Maharal to remote view the (Tau-field/Morphogenetic-field/collective dream) spirit of a place.

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Some of the tales, concerning Golems, such as those of Chełm and Prague, as well as in Polish tales, and of a version covered by Brothers Grimm, involves the Golem being inscribed with Hebrew letters.

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These letters spell out the word Emet, ‘truth’ in Hebrew, which is written on the Golem’s forehead.

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The Golem could then be deactivated, when needed, by removing the Aleph in Emet, thus changing the inscription from a ‘truth’ to a ‘death,’ Met, meaning ‘dead.’

But, of course, the idea lives on as a viral-meme, when the idea takes up residence within the brains of individuals; this being more to the point concerning the creation of a haunting Golem, like a neuro-advertising tune, that you can’t get out of your head. Whereupon, the more shocking the idea, the more likely it will take on a mythic (Tulpa) life of its own.

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Other versions of the Golem tale relate that after conjuring an entity into a clay receptacle of a meditation focus, it could be brought to life by placing a magical formula, known as a Shem into its mouth, which could be later immobilized by pulling out the Shem. This technique was also utilised by the ancient Egyptian’s by the way.

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The immobilisation of a Golem could also be brought about by reversing the creative formula. Rabbi Jacob ben Shalom, who arrived at Barcelona from Germany in 1325, to have remarked: “the law of destruction is the reversal of the law of creation.”

Basically, after the thought construct of a (Tulpa) Golem is encountered within a lucid dream it can then be fixated into material form, such as a ‘stone girl’ upon which the sorcerer focuses upon, like that of a Voodoo doll; wherefore you have the motif of a Genie in a lamp/bottle.

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This process of a (Tulpa) Golem creation can be reversed of dispersal, when to return back to the source. Or to otherwise transform a symbolic stimulus into another form of expression, by reversing its meaning.

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The spirit repository of a statue is often broken so that it cannot be used by others, as well as its viral-meme influence being dispelled; likened to that of the sacred swastika of the Hindu’s, to break apart, by transforming it into a hated Nazi icon.

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Back in 1625 Joseph Delmedigo relates that: “many legends of this sort are current, particularly in Germany.”

These German folktales invariably led to Mary Shelley creating her Germanic Golem of a Fankenstein, who may have come across the earliest known written account of how to create a Golem, which can be found in Sodei Razayya by Eleazar ben Judah of Worms (1165–1230).

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The myth of the Olympia mechanical doll of a Golem, and Shelley’s Frankenstein has very much influenced the artificial intelligence movement.

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Now, let us look at the Hebrew word for ‘truth,’ being Emet, which contains the first: Al-ef, middle: Nun, and the last letter of the Hebrew alphabet: Tav, indicating that the ultimate ‘truth’ is associated with, birth/beginning, your present life/existence and death/end.

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Basically, Emet is associated with the process of ‘time,’ in particular, of an ‘abstract,’ which is inextricably linked to ‘space,’ as in space-time. However, ‘time’ is usually perceived to be linear by our nervous-systems, which Albert Einstein to have stressed is an illusion.

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Time is actually happening simultaneously, because it is looped, should space be a sphere. What you then have is a sphere of time, which in two dimensions is described by a circle, the ancients symbolised as a snake eating its own tail, called an Ouroboros encircling an egg representing space.

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The Ouroboros is also depicted as a Lemniscate, or that of a Moebius strip, which indicates that your existence endlessly repeats of Eternal Recurrence.

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In the Tarot, Al-ef/Aleph is the Fool: 0, Nun is Death: 13 and Tav/Tau is the World/Universe: 21. Al-ef (Fool) of a ‘0’ is your return (birth) back to a recurring cycle.

But you have forgotten what you have already experienced many times; hence that of a clean slate, driven, on automatic. Like that of a body, without a head.

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The problem, is that you will end up repeating everything, like that of a pre-programmed (Golem) automaton, until you remember certain key memories, which will be initially experienced as déjà vu, and as precognitions. These trigger memories tend to be associated with emotionally charged sexual encounters; whence you have the motif of soul-mates.

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But it will not be a case of remembering past-lives or seeing into the future, such a perspective is (foolishly) linear of a ‘fence;’ it will be more of a case that you are remembering the endless Ouroboros cycles of Eternal Recurrence; yet your initial realisation of this, will be that of an abstraction.

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When you start to remember, to slowly conceptualise, your conscious mind will often not be able to handle the full impact of its experiential reality.

Whereupon you either quickly forget, or your subconscious mind otherwise transforms your awakening into symbolic conceptualisations, which is most often interpreted as being past lives or as precognitions.

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An analogy would be that a programmed (Golem) robot starts to become sentient; but only when it remembers of Knowledge, otherwise it stays as a blissfully ignorant programmed (Golem) robot in its repetitive Eden.

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The middle letter of Nun (Death) equates with the head of the snake eating its own tail, where you are both alive and dead simultaneously, as indicated by Schröedinger’s cat experiment.

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This can be personally experienced when you achieve (split screen) hypnagogic trance, where you are between (Land/Life) waking and (Water/Death) sleeping, wherefore the letter Nun means, ‘fish,’ describing (Mud/prima materia) an ‘amphibious’ state of consciousness. The hypnagogic (Mud) state is analogous to a (Golem) robot being able to hack into its own (Land) programming via the virtual reality of its (Watery) electron dreams.

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Tav (World), it is here that you realise that your experiential reality is an illusion, which can be otherwise termed as being a ‘simulated reality,’ the Hindu’s call (Mother/Vesica Pisces/Vagina) Maya. An analogy would be that of an artificial intelligence (Golem) existing in a video game reality becoming aware of the (Emet) ‘truth’ of its simulated existence.

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When you become aware of your simulated existence at ‘Tav,’ you also become aware that you can create (Tulpa/Golem) simulations when to access the (amphibious) hypnagogic (Mud) state out of which (Tulpa) thought-forms (Golems) can be created. These (Tulpa) thought-forms (Golems) can manifest into material existence over time; more so as viral-memes.

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The initial embryonic existence of a Golem is within your amniotic (Watery) electron dreams, which after being (Land) programmed, is then activated via (Mud) hypnagogic (amphibious) trance. The Golem then starts to become more substantial, inducing pre-programmed (microcosmic) lucid dreams, which are illuminated by the bio-photon emanating from amidst your mitochondrial DNA.

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This leads to concordant (macrocosmic) synchronistic feed-back-loops as well as instigating poltergeist phenomena and even physically manifesting at certain key-times as a ghost. Wherefore a Maharal can create a (Golem/Tulpa) ghost girl to (Skinwalker) haunt the (Tau/Morphogenetic field) locale of his antagonists, whose physical spirit repository would be that of ‘Charming Stone Girl.’ Like that of a ‘Wild/Strong’ Rusalka genie, being conjured out of a bottle as an Entartete Kunst Wilt-Ahwa Valkyrie, furiously riding an Ouroboros cycle of a cog wheel gold bicycle, holding onto a bouquet basket of fish. As mentioned prior, shocking ideas (Bellmer’s Doll/Golem) take on a Tulpa life of their own, which to thence spin the electron dreams of the collective, because they are empowered by the (prima materia) emotional charge of the shocked audience.

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