Archive for Kitsune

THE CONJURING OF A SUCCUBUS ART MUSE INTO A LUCID DREAM

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 6, 2016 by FAUSTUS CROW

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The Conjuring of varying entities and those worlds, which they occupy, many an Artist to know. The practice of Conjuration is engaged in whenever the Artist is confronted by a blank canvas onto which is Conjured a form. This requires an emotional connection with what is to be Conjured; for it is the emotional charge of the Artist, which animates what is being visualised.

The visualisation phase engenders thought processes, which automatically kick in, generating a myriad number of symbolic associations, which can take on manifested form within a lucid dream.

The symbolic associations are determined by what is being visualised. The visualistion will be of differing intensities depending upon the emotional charge of the Artist.

Most often than not, the visualisation will be more of an impression than a fully fleshed out form; at other times, it will be quite vivid, though fleeting.

Sometimes it will be very vivid of an overlapping ghost reality. Whatever is Conjured of a form, will be constructed from innumerable symbolic associations, which are derived from the memories of the Artist.

Everything that the Artist has ever experienced is stored within the subconscious, being the storehouse of memory. You then have a formula of: Emotion, Thought and Memory, which can be termed as the ‘Triangle Of Art.’ At the midst of the ‘Triangle Of Art,’ you have the ‘Eye’ of the ‘Imagination.’

It is the inner eye of the imagination, which, of a ‘Paranoiac-Critical Method’ example, fuses the memory of a Fox with a human figure of, say, a Hogwarts Witch of a schoolgirl, which then creates something else of a St Trinian ‘Exquisite Corpse’ Conjuration, you could knit-together as a Manga version of a Japanese Succubus, known as a Kitsune.

This will of course require the Artist to have the necessary ‘observational’ memories concerning Japanese culture, which will be Conjured up automatically.

If not, the Artist will then have to rely on references. Whatever the case, when the Artist observes everyday events, it is not done in a haphazard way; the Artist has to make it a habit of consciously transforming what is being observed into a sketch, let alone a painting within his/her imagination.

The character of a Kitsune does not exist in a void; wherefore, her Conjuration will then generate associations with everything Japanese drawn from memory of ‘re-remembering.’

So, when the Artist manifests her upon the canvas, it will then lead to an associative world being painted around her.

The trick is, the stronger the emotional connection the Artist has with the initial Conjured character of a Kitsune, it will then lead to a free-flow association into her world.

The intensity of the creative act, is its self a form of meditation, and like a martial art, it best occurs when the analytical mind does not interfere. This requires that the emotion is felt by the body; in other words, the emotion is transmuted into a feeling, a shaman would say is felt by the heart, where the ‘power of (hypnagogic state) trance’ resides.

This then leads to a (Theta brainwave) state of automatism, where the Artist is not thinking about what is being painted, it just manifests via the (pentagram) hand, guided by the eye of the imagination.

With continued practice it can initiate vivid dreams, leading to a state of lucidity; this will in turn engender concordant synchronicities. The experienced synchronicities will reflect back the symbolic focus of the Artist, who, when to observe the synchronicities, to take further of artistry, becomes as a Shaman.

However if an individual is unprepared for the feed-back-loop of synchronicities, which will reflect back his/her ‘symbolic’ beliefs, such as dreaming about a subject, to then, upon awakening, suddenly overhear a conversation about what had been dream’t, or even prior thought; as well as losing and finding items under mysterious circumstances, or seeing an email from someone, he/she was thinking of, before seeing the email, etc, said individual might just become very paranoid.

The experienced paranoia is a reactive state of the unprepared conscious mind, which is esoterically termed as entering ‘Chapel Perilous;’ basically, the mind attempts to come to an understanding of what is going on, based upon what has been learn’t, which invariably does not allow for such phenomena to be recognised, whereby his/her belief system starts to fragment, being the Nigredo stage of the Great Work of Alchemy.

This can initially lead to an individual believing that his/her life is being subversively manipulated by secret agencies of the government, to even see men in black around him/her upon a synchronicity, or to believe he/she is being pursued by malign Satanists, Biblical demons, or Newage-Gnostic aliens, who experiences assailing Illuminati nightmares, along with those who feed into the fear, whose ulterior motive is to exacerbate the paranoia even further, which of a hidden agenda is to enslave him/her within their ring-pass-not symbolic construct, etc.

The Nigredo stage will continue of disintegrating madness until the individual realises of an Albedo stage of inner Alchemy, that his/her (microcosmic) dreams reflect back himself/herself, and likewise the feed-back-loop of concordant (macrocosmic) synchronicity.

When to then transform his/her symbolic beliefs, the dreams of the individual and the experienced synchronicities will then accordingly change of an Alchemical Rubedo stage; whereupon the individual becomes aware of the reality of Magic in his/her life, which is the goal of the ongoing Great Work to evolve consciousness.

Hence the Artist, Austin Osman Spare extensively practiced (automatism) automatic-drawing, which he made as his symbolic Alchemy of (metaprogramming) sorcery practice. Alas, there is hardly any documented examples of his technique, apart from what he had described in his esoteric writings.

But the Artist Kim Jung Gi demonstrates what Spare was speaking of who is a supreme Martial Artist of the Arts. There will of course be those who to argue that Gi’s work is not automatic, which of commonalty is usually defined as a return back to a childhood spontaneity by many a so called Modern artist drawing scribbles a 2001 Space Odyssey ape can too doodle, or that of allowing the subconscious to chaotically take over, as if it is some David Icke reptilian with a planet X mind of its Freudian own, or otherwise equated with archetypal entities possessing a Jungian Artist.

Don’t get me wrong, I have nothing against Modern art; but it has far more to do with ‘who you know,’ rather than ‘what you know.’ However, Gi has the childhood spontaneity of being at one with his subconscious mind, like Spare, to such an extent that his inner Conjuring of various characters (spirits) and their (dream) worlds Gi is able to ‘vividly visualise’ with his inner eye of re-remembering onto paper, without using any references, let alone avoiding being esoteric about his artistry, which to freak out many a square mind, who make up the majority of the audience. In other words, Gi draws as a child would do, who can… actually draw.

There are those square brained sceptics who argue that a Conjuration of a spirit is merely Hogwarts fantasy, who, when to dare practice, gibber their rituals, read out of a medieval Playgirl grimoire in an empty room, seeing nothing appearing. Well, what do they expect, they are not thinking correctly, who to have quaintly forgotten that the Art of Magic is that of Art.

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The trick is, you have to think and act like an Artist, to otherwise practice Conjuring a spirit onto a page, within a book of shadows sketch-pad, to thence draw of manifestation; but first, you draw within your mind, whence your inner eye to then guide your pentagram hand.

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You will then have a Succubus Art Muse to appear amidst your Triangle Of Art Imagination, to seer the Muse taking on an Art Model life of her own of a drawing, the sorcerer Artist Austin Osman Spare to have known, who was aware that the drawn image has an interactive informational reality within the experienced dream.

She to then guide your winged eye of the Artist into her uterine tunnel of the Active Imagination, which of Art, is Sorcery.

As an Artist, you to stand as the creator at the centre of your Magic Circle of an Art studio, divided of four quarters, surrounded by your elemental weapons of a Wand of a Brush, Palette of a Shield, Sword of a Palette Knife, and a Cup, wherein the colours of your Art are mixed of Alchemy.

The Altar is your Easel, upon which be the canvas of a one time cave wall to paint with Metals suspended in oils, when to conjure up a quintessential Succubus Art Muse out of your Triangle Of Art imagination. Her Mind-Doll form of a symbolic expression can be knitted-together of an ‘Exquisite Corpse’ Tulpa, which of symbolic Alchemy, will pertain to one of the seven planetary (Chakra) spheres of an archetypal influence.

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The initial two-dimensional image is then but a ‘doorway’ into your creative mind of an Artist, a conjured Succubus Art Muse to Symbolist inspire; who, depending upon your emotional intensity, may then manifest as a three-dimensional reality within the temple of a Surrealist ‘lucid dream.’

As a Sorcerer Artist, you might also observe that the conjured symbolism of a particular Succubus Art Muse within a microcosmic lucid dream, or that of a vividly imagined evocation, will generate concordant macrocosmic synchronicities.

Said synchronicities may lead you to meet up with a Muse of an Art Model, you have already depicted within a painting of oiled flesh, for yet another painting to model for, of Sorcery Art.

Such is what I explore of artistry, to take further of experimentation. Should you be one of those who to scream that you cannot draw, I am sure that you can draw a stick figure, like those depicted in Palaeolithic cave paintings, or likened to those of hieroglyphs, you can create as your colourful Sigils of Howling Conjuring.

  

 

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TIME TUNNEL CATWOMAN

Posted in Alien, Art, Chaos Magic, Discordianism, Dr Who, Extraterrestrial, Film, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Star Trek, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 26, 2016 by FAUSTUS CROW

Many a folklore tale to tell of Wizard of Oz, Bubble Witches hovering around as orbs, who to lab-coat Catwalk the ghostly ley-lines, all as predatory Sphinx’s.

Their nature ever so feline of slanted mirrored eyes, who can be likened to the Japanese Succubae called, Kitsune with their ‘Hoshi Noh Tama’ Star Balls.

There are those who conjecture that the feline Bubble Witches are extraterrestrial aliens from another world or to be interdimensional entities who emanate from some other dimension, or to come from an alternate Earth, which to exist within a parallel universe.

Whatever the origins of the Bubble Witches be, they are very much tied up with their ‘quantum computing’ tesseract hypercubes tuning into hypersphere star balls, in order to access alternate Earth’s, wherein be their alternate selves.

Move over Creepypasta reptilian Annunaki, along with the Illuminati Grey alien fear porn, of a U.S. media reptilian brain-stem zap; here Cums the Bubble Witches!

The symbolic correspondences are there to see, and of the Wyrd they be, which to weirdly reveal the actress Lee Meriwether playing many an archetypal role.

H.G. Wells Catwoman Sphinx being the wormhole lock, to Riddler unlock, with a Joker key!

Some physicists suspect that electrons are mini-wormholes; though far too small for a physical astronaut to enter their spherical star ball holes.

Such would not restrict the lucid consciousness of a psychonaut to slide into within an electron dream, whose brain would in future be wired up to a quantum computer.

The artificial intelligence of said quantum computer would very likely be programmed with a female personality, which of predatory nature, like many a woman, would be feline.

But what of the present? A psychonaut shaman can presently penetrate a spherical hole, of hyperspace intercourse, when to conjure a bubble Witch Yoni Stargate, out of a grimoire, within a lucid dream, as his personal Time Tunnel lab-coat assistant.

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The shaman to enter trance upon a drum beat, so as to slide Serpent-wise of phallic ingress into the vaginal star barrelled Time Tunnel, like a bat flying into the womb cave of the Sphinx.

The Near Death Experience to speak of such a tunnel, which of an experience can be seen as being akin to Shiva entering into the vaginal maw of a Kali Hadron Collider, circled of a Magic Circle Ouroboros.

The ancient Egyptian shaman Pharaoh also to know of the tunnel as the vaginal abyss, which to verily lead to the womb realm of the Duat.

The Shaman to then ‘Travel Without Moving’ as the tunnel appears to fly by of spiraling informational streams.

Such be the process of ‘Browsing,’ the physicist James Gates to have found of ‘Computer’ code embedded in Superstring theory.

But where would a psychonaut Merlin end up, when to consciously conjure up a ‘dark haired’ feline Morgana le Fay Bubble Witch within a lucid dream?

Perhaps that of another dimension, via which, if so desired, he can haunt his own past, so as to influence.

But in doing so, it will generate an ‘alternate world’ to branch off. You then have, Time Travel, which is very much tied up with the phenomena of synchronicity.

So, should you ever meet up with a dark haired mercurial woman upon a synchronicity, having the feline characteristics of a scientific pedigree at a Sabbat party, she might just say that her name is, Lilith Munster.

Hell! She may even have the appearance of a Gothic Munster, remarking that you look like Skull and Cross bone’s, Bruce Wayne, which of an Illuminati pick-up line indicates she is after your bulging Military Industrial Complex wallet.

Beware, she may be a Time Traveller, who intends to Abduct you into her Seventh Heaven, for some, rapturous sensory delights, which will invariably involve very kinky alien cosplay, leading to in depth scientific experimentation.

Or, she to otherwise be a lab technician who is working upon a top secret military project involving a quantum computing Time Tunnel, looking like an Ouroboros Hadron Collider.

Do not bother attempting to take any selfies with this feline Bubble Witch, or to abscond with her pussy willow Time Tunnel briefs, from which you seek to derive genetic evidence of your very Close Encounter of the Sexagram Kind

It will come to no avail; for she can manipulate time; you then to verily discover that your hard won evidence has mysteriously disappeared. Little wonder then that there is no hard evidence to back up the many sightings of UFO’s, such as the 2011 sighting over Yakutsk in Siberia, whose Air traffic controllers claimed they were buzzed by a high-speed UFO, piloted by a female, who spoke in an unintelligible CAT-like language… Meow!

This may then explain why the military always knows where a time travelling UFO to land, since it is one of their own Time Tunnel devices.

GOETIA GIRLS: Succubus Art Book 2 Fully Illustrated, Black & White version.Can be obtained via Createspace: Please Click Here.Book PREVIEW of Goetia Girls: Succubus Art Book 2: Please Click Here.

But if you feel so inclined to prove Time Travel to yourself, you could always conjure up a Succubus Time Tunnel within your lucid dreams.

Then you can become as a Doctor Strange Magician, even though many will say that your conjuration of an exotic Succubus as a personal Genie, is an Impossible Mission. Those who consider it to be a Mission Impossible, do not know how to dream.

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LILITH’S HAREM OF A MAGIC THEATRE AGARTHA

Posted in Alien, Art, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 31, 2015 by FAUSTUS CROW

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The Magic Theatre, is a major symbolic theme in Hermann Hesse’s surrealistic tenth novel entitled, The Steppenwolf (German: Der Steppenwolf), which was originally published in Germany in 1927, and soon thereafter translated into English in 1929. You could symbolically equate the Magic Theatre with Dr Who’s TARDIS.

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The novel is a surrealistic fusion of autobiographical personal experiences, Jungian symbolism and psychoanalytic elements, as well as also heavily utilising the philosophy of the far East, of which Hesse was enamoured with. The story can be seen as being a creative catharsis, which had been initiated by a profound suicidal crisis in Hesse’s spiritual life during the 1920’s.

The book is very Faustian of style, whose principle character of a Faust is otherwise called Harry Haller, who attends an Anarchist Evening at the Magic Theatre, which is For Madmen Only, the Price of Admission, Your Mind.

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When entering the Magic Theatre, Haller is soon ushered as an unwitting Dr Who into a number of alternate Earth’s, each of which he ‘slides’ into when opening a door within the Magic Theatre of a TARDIS.

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One of the alternate Earth’s, Haller explores is enduring a war with the machines, which could be seen as being akin to a science fiction fusion of Terminator merged with Mad Max.

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In yet another alternate Earth, Haller finds himself exploring an erotic world of women; where he once again experiences lost loves and unfulfilled desires, to transmute of sexual alchemy; whereupon fully fulfilling them of alternate possibilities.

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In each of these alternate Earth’s, Haller transforms himself anew within the Magic Theatre, which has been interpreted in many different ways by Hesse’s audience. The late Timothy Leary described The Magic Theatre as being an ‘Acid Trip.’

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Another principle character is a young woman called Hermine, (who is essentially Hermann’s Anima), and like a Succubus, she introduces the much older Haller to the hedonic indulgences of what he calls the, bourgeois.

Hermine teaches Haller to trance dance, introduces him to the casual use of psychedelic drugs, finds him an earthly lover, named Maria, and more importantly, she forces him to accept these material experiences as being a legitimate aspect of a full life; for the material and that of the spiritual are one and the same of Love Sex Intelligence, squared.

Hermine also introduces Haller to a mysterious saxophonist named Pablo, who appears to be the very opposite of Haller’s own self. Haller considers himself to be a very self-constained and serious, thoughtful person, who abides by the laws of the land, however insane they be.

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Whereas Pablo is what Haller could have been if he had allowed his inner Wolf to be free. After attending a lavish masquerade ball, Ebeneezer Goode Pablo leads a loosened up Haller to the Magic Theatre.

The Magic Theatre is described as being a long horseshoe-shaped corridor, likened of a vaginal form to that of the old European standing stones, with a vast wall-to-wall mirror on one side, and countless doors on the other of its cavernous womb enclosure.

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This feminine symbolism refers to the Cabbalistic sphere of Yesod, which is the Ninth Gate. Haller enters five of these labelled (vaginal) doors into their respective alternate (womb) Earth’s, which symbolically reflect back ‘elemental’ issues of Haller’s life.

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The title of Hesse’s book is named after the lonesome Wolf of the North-Central-Asian steppe stretching over Mongolia unto Tibet, where shamans still practice their art. Hesse was very interested in the esoteric practices of the far East, such as those of Tibet, from where the myth of a legendary underworld city, called Agartha stems from.

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Whether Hesse was aware of Agartha is debatable, though probable, should he have perhaps read Ferdynand Ossendowski’s book entitled: Beasts, Men and Gods, which was published in 1922. In the book, Ossendowski relates a story, which was imparted to him concerning a subterranean kingdom existing inside of the Earth. This inner kingdom within you was known to the crafty Buddhists as (Agartha/Agharta) Agharti.

Some believe that Agartha is tied up with the UFO phenomenon as well as being an actual physical locale; such is indeed the case, although, not in the way most Westerners think it is.

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Agartha’s origins stem from ancient shamanistic practices of trance induction, which influenced Tibetan Buddhism. You can gain greater insight into hypnagogic trance induction, when looking into the shamanic trance dance practices of the Kalahari Bushmen of South Africa.

The Kalahari Bushmen communicate that an energy is aroused within the body called Num, which arises along the spine; more so that of the back of the (nape) neck, whose energy, like that of an exhaled breath of a woman caresses the back of the head, as a sensuous kiss; this then initiates the hypnagogic state of trance, they call Kia.

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Hesse would have seen the Num of the Kalahari Bushmen as being the same experience of arousing the Kundalini Shakti, as described by the ancient practitioners of Yoga, which also initiates hypnagogic trance. When experiencing trance, the initial phase is that of feeling the distinct sensation that you are falling backwards into a yawning void towards the back of your Hyperreal head.

In the Hebrew Cabbala the back of the head is ascribed the letter of Qoph, which is tied up with the Luna sphere of Yesod. The sphere of Yesod is physiologically associated with the genital area of the body and in turn the autonomic-nervous-system. In other words, the Ninth Gate of Yesod is about introverting the sexual impulse, which erotically empowers the state of hypnagogic trance ingress into conscious dreaming.

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The origin of Qoph is uncertain. It is usually suggested that it originally depicted a sewing needle, specifically the (hole) eye of a needle; although in Hebrew it specifically means ‘hole,’ or the back of a head and neck. Qāf in Arabic means ‘nape.’ Qoph of a shamanistic understanding refers to a shift of consciousness towards the back of the head, when attaining hypnagogic trance. Although this is internally experienced as a falling descent towards the centre of the Earth’s core.

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As you descend into the void, it is very important that you do not not fear, otherwise your fears will determine what you will eventually access of a conscious dream destination. In North-Central-Asian shamanistic practice and that of Tibetan Buddhism, the dream destination is that of Agartha, wherein the (Succubi/Succubae) Dakinis are to be found, whom frequent Agartha, likened to that of a Harem city.

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If you are into Edward Bulwer-Lytton’s science fiction book: The Coming Race, you might meet up with a Vril-ya Nordic woman piloting her Vimana of a UFO from out of her primordial world; if you are more into the works of Edgar Rice Burroughs, you could perceive the inner descent as leading you to prehistoric Pellucidar where dark haired Dian the beautiful awaits your infernal intercourse into her hot Agartha womb core.

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Hell, if you want to continue believing that demonic Reptilians or Illuminati Alien Greys are living within a Nazi underworld base, go right ahead, if that be your Biblical sized anal probe preference of a CIA engineered mythos.

But why stop there, why not get into John A. Keel’s book: Visitors From Space, which covered the 1960’s UFO invasions of Asiatic aliens, when the Vietnam war to have raged around Mothman; whereas prior of aftermath WWII you had Aryan Nordics, and later, of 80’s Iraq conflict, onwards, you have Whitley Strieber’s Sumerian Grey’s.

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At least Keel had astutely figured, that some of the visitors were Agartha Tulpa creations of the coming race Phorever People who are becoming aware of their shamanic Vril.

You could instead have Manga trance girls flying around in their Anime UFO’s, wearing skintight Kinsune Grey jumpsuits; or to otherwise imagine Bedroom Invading entities manifesting as black eyed Slender Girl Dakini schoolgirls, out of an Omega point Agartha Hogwarts.

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As for Hesse, he otherwise termed Agartha as the Magic Theatre of many alternate worlds, into which of a multiverse he was initiated by his Succubus, Hermine, who in many respects is very much like the Queen of Succubae called Lilith.

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The out of body researcher Robert Munroe appears to have also accessed The Magic Theatre of Agartha when attaining lucid dream ingress into what he described as being a ‘hole,’ which led of a descent into an alternate Earth of a Steampunk reality, where he encountered a Succubus called Lea.

But, such internal ingress into Lilith’s Harem of a Magic Theatre Agartha is For Madmen Only, the Price of Admission, is Your Mind, or should one say, your beliefs about yourself and what you believe to be real, or not, as the case maybe. Just keep in mind, of a wrought Magic Circle, that you are only limited by the extent of your Triangle of Art imagination; it is your (Da’at) beliefs, which determines what you tune into of conjuring amidst the quantum computing (Qoph) Magic Theatre, of spun three-dimensional ‘electron’ lucid dreams.

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A rich man full of rigid dogmatic beliefs will not be able to pass through the eye of the needle; whom will fear letting go, fearing his death.

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But the innocence of an imaginative child can, who, like a sacred Fool, or as a Dr Who Mad Man is enabled to ride the Night-Mare Succubus as his pony-girl TARDIS , who then to Kwisatz Haderach leap into Lilith’s Harem of a Magic Theatre of an Agartha.

NOTE: Should you come across Randy Rocket Cody’s, Vril: The Aliens Have Arrived (Pt.2), his quotes are taken from the above article, as well as being derived from my article, UFO VRIL GIRLS.

Other associated articles about Vril are the following:

UFO WITCH VRIL SOCIETY

SCIENCE FICTION VRIL-YA DREAM GIRLS

UFO VRIL GIRLS

VRIL UFO ALIEN GIRL

VRIL UFO WITCH RED BARONESS

Associated article concerning Agartha/Agharti:

DOCTOR STRANGE DISCOVERS THE ANCIENT MATRIX OF BIFRONS

The material in the copyrighted articles have also been further explored in my Published Books.

NOTE: There will be many who will find the above symbolism to be rather disconcerting, let alone disturbing to their politically correct sensibilities. However, should you investigate ancient shamanistic practices, such as those of North-Central-Asia unto Siberia, as well as elsewhere, you will duly find that the symbolism of the shamans (horse) Mare, which gave rise to the European term, ‘Nightmare’ is associated with Old-Hag Syndrome, a shaman has to learn how to (hypnagogic trance) ride as his (Spirit-Wife) Succubus, rather than being ridden by his own (sleep-paralysis) fear.

A shaman learns how to introvert his (9/Yesod) sexual impulse in order to transform the (11/Da’at)) terror of hypnagogic trance into an erotic impregnation of the Ninth Gate. This then leads to the attainment of (Kingdom Of Shadows) Agartha conscious dreaming, wherein of a bio-photon (Diana-Lucifera) illuminated information domain a heterosexual male shaman can enter into a Coitus Pactum with the (Succubi [Art Muses] Succubae) Dakinis, who are the manifold Tulpa aspects of his ‘Anima.’

A heterosexual female practitioner will dally with the Incubus (Tulpa) emanations of her ‘Animus.’ As for Homosexual, Lesbian and Bisexual practitioners they will erotically engage with their corresponding (Tulpa) dream characters.

Some will invariably point out that Agartha and its counterpart, Shamballah are commonly seen to be physical locales. This is primarily due to an externalised Western mind-set, which has forgotten how to dream, or should I say, been systematically trained over the religiously indoctrinated generations to fear the inner space of their own minds, as well as to consider the altered state of dreaming to be quite unreal, having no value at all. 

You might ask, why has the mass populace been systematically brainwashed over the generations to fear the inner reality? It is because the elitist few atop of the ziggurat hierarchy do not want you to question their pyramidal religious politics of centralist control, whose patriarchal symbolic paradigm is that of the deified Animus, made as a God and Devil. 

Should you ever attain a lucid dream, you will soon find out how very real it can be; in fact, you might just discover that a lucid dream can be far more real than what you consider your physical (Maya/Matrix) reality to be.

Agartha describes a shift of consciousness to the back of the (Qoph) head; whereas, Shamballah is associated with a shift of consciousness above the (Resh) head.

The head is associated with a four (compass points/also sub-directions) sided (pyramid) mountain, which is interpenetrated by the world tree representing your axis-mundi spinal-column. The head is symbolised as Mount Kailash. In other words, when you attain a (third eye/inner eye) lucid dream, you are then enabled to gain conscious access into Mount Kailash, whose secret (star-gate) doorway into Agartha and Shamballah is within yourself.  

So, if you are looking for the reality of Agartha/Shamballah, of a Magic Theatre, go inside your own mind; for everything you experience is processed by your ‘quantum computing brain,’ housed within your crystalline Skull amidst hypnagogic-trance Cross-Bones. Gebo Rune: X of a Seventh Seal secret, marks the spot! Savvy!

    

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SUCCUBUS DAKINI LUCID DREAM YOGA

Posted in Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 25, 2015 by FAUSTUS CROW

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A Dakini is a female entity of dreams, who is known of in Tantric practice; she is of similarity to the European Succubus.

There are many differing Dakinis; each of whom is unified with various alternate-selves (Avatars) of the Yogi, he can assume within (alternate reality) lucid dreams, which are empowered by the conjured Dakinis.

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Whereupon, the same perspective can be applied to the Succubae, when to conjure them out of a grimoire.

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The Succubae can be seen as governess’s who have governance over a myriad number of dream worlds, likened to beads threaded by a superstring.

Although a Dakini is similar to a Succubus, she represents far more as a feminine (Anima) embodiment of enlightened energy within the watery domain of the dream.

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This indicates that the phenomenon of the Succubus can be better understood, of Old Hag Syndrome dream visitations, when looking into what the Dakini represents.

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In the Tibetan language a Dakini is known as a Khandroma, which translates as the following: ‘void going woman, she who traverses the sky, she who moves in space, sky walker, or sky dancer.’

The Dakini is called upon of conjuration when practicing dream yoga, which is orientated towards attaining lucid dream contact with her; wherein she is akin to a Genie of Succubus wiles, who initiates the conjurer into the associated knowledge, of which she personifies as a knowledge/wisdom holder.

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A Dakini is associated with the arousal of the Kundalini Shakti, of which she is an energetic fluctuation, of its fire snake energy, as it arises along the spinal column of the practitioner.

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As the Kundalini fire snake arises along the spine, its feminine energy of Shakti activates the seven (planetary sphere) Chakras out of which the Dakinis emanate of differing (seal) expressions. Their various dream (metal) characters pertain to what they individually personify of inner knowledge.

A Dakini is so central to a Tibetan Buddhist practitioner attaining full enlightenment as a Buddha, that she appears in a Vajrayana formulation of the Three Jewels Buddhist refuge formula, which is known as the Three Roots. (Three Roots – Triangle Of Art.) 

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A Dakini commonly appears as the Dharma protector, sensuously sitting astride the lap of a guru and Yidam, with who she copulates of a sacred union.

But Judith Simmer-Brown, who is a Professor and past Chair of Religious Studies at Naropa University, as well as being a prominent Buddhist scholar, points out:

“The Dakini, in her various guises, serves as each of the Three Roots. She may be a human guru, a vajra master who transmits the Vajrayana teachings to her disciples and joins them in samaya commitments. The wisdom Dakini may be a Yidam, a meditational deity; female deity Yogas such as Vajrayogini are common in Tibetan Buddhism. Or she may be a protector; the wisdom Dakinis have special power and responsibility to protect the integrity of oral transmissions.” 

As a key Tantric figure the Dakini can also be found in other forms of Tantric Buddhism, such as the Japanese Shingon school, from where she was disseminated into Japanese culture, who evolved into Dakini-ten; whereby becoming inextricably linked with the (Fox) Kitsune (Succubus) of ‘erotic iconography.’

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The origins of the Dakini had originally stemmed from ancient shamanistic practices, such as that of Siberian shamanism, whose shamans derive their powers from their conjured spirit wives.

The spiritual focus upon the Dakini continues to this day as a part of Indian folklore; though generally in wrathful forms, which of a meditation practice remains a part of Hindu Tantra.

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Although the Dakini appears in Hinduism and within the Bön tradition, Dakinis occur most notably in Vajrayana Buddhism, who play a particular role in Tibetan Buddhism.

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The Tibetan Dakini, is generally seen to be of a highly erotic form, of infernal looks; her nature is volatile of wrathful temperament whose abode of a haunt is often that of the charnel ground.

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She initially manifests as an Old Hag Syndrome ‘Nightmare’ until the practitioner learns to overcome his fear to then ride her as his Mare of the Night; whereupon she will then become as his spiritual Muse of an inspirational (Tulpa) thought-form, who guides him into the dream to make lucid of awareness.

Dakinis are energetic (Tulpa) beings of (archetypal) Succubus form, who are erotically evocative of the microcosmic movement of energy (information) within inner space.

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In this context, the macrocosmic sky of space indicates Shunyata, the insubstantiality of all phenomena, which, at the same time, represents the dream-time Dakini potentiality for all her possible (planetary sphere) Succubus manifestations.

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