Archive for magic

CONJURING THE FALLEN ANIMA DEVIL GIRL

Posted in Art, Chaos Magic, Demon, Demonology, Devil, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 15, 2017 by FAUSTUS CROW

The Artwork depicts the sorcerer Artist, named, Faustus conjuring up his Fallen ‘Anima’ to Mantra name Mephistophina, within an eroticised lucid dream. If you are interested in the Art print or shirt design, etc, Check Out my Redbubble shop, Please Click Here.

Mephistophina has in her hand a Coitus Pactum union with his ‘Anima,’ whereupon Faustus wins back his Soul, which had been initially enslaved by the ‘Animus’ fixation of the brainwashed masses.

In ancient cultures the Soul of an individual was seen to be of the opposite gender to the person it was connected to.

Hence, Faustus’s Fallen ‘Anima,’ of a Mephistophina is a Succubus emanation of his Soul, around whom be the Zodiac circled decan legions of (Succubae) Succubi Great Old Ones, whose Fallen archetypes frequent the grimoire dream.

However, the herd mind of the masses is none too pleased by Faustus’s Entartete Kunst rebellion against their ‘Animus’ fixation of an all pervading symbolic ‘Matrix,’ which is considered to be very politically incorrect.  

Faustus cares not; for his Fallen ‘Anima’ of a Soul is free from the ‘Animus’ cultists brainwashing incarceration, who seek to imprison all within their New World Order feudal Kingdom of an Orwellian heaven on Earth, over-lorded by Beta-Male Good-Guy Messiah, King and Prophet, who be too their Alpha-Male Bad-Boy Prince of darkness.

Faustus to say, “if only the Witches had learnt to control their own ‘Animus,’ of a patriarchal All-Father fixation, whose externalised centralist politics is very jealous indeed; then the world would have been a very different place, by now of a Zodiac Age. Alas, the Witches far prefer being Oprah Winfrey ‘Fifty Shades Of Grey’ dominated by their own ‘Animus,’ to deify of three gender fixated religions out of Ur’s ziggurat.”

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Faustus to continue, “they still haven’t figured out that their three ‘Animus’ fixated religions are the real Illuminati, whose trinity of a pyramidal triangle is actually the oily ziggurat of petrodollar Ur, amidst which be the Big-Brother Eye of their Orwellian All-Father.Little wonder then that Faustus is considered to be politically incorrect, whose Sorcery Art is seen to be Entartete Kunst.

Wherefore the depicted scene of the Artwork goes far beyond Marlowe’s and Goethe’s version of Faust, and his Mephistopheles of a deified ‘Animus’, made as a God/Devil.

The Artwork was used in my Art book Grimoire, ‘Goetia Girls: Book One,’ which is available from Createspace and Amazon.

If you are interested in the Art print, or shirt design, etc. Check out my Redbubble shop, Please Click the image link above.

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SORCERY ART COOL WORLD LUCID DREAMING

Posted in Art, Chaos Magic, Film, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 18, 2016 by FAUSTUS CROW

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Visualising a mind-doll to sculpt of consummate thought form amidst the triangle of Art Imagination, to thence conjure, of manifest painting, is an act of sorcery.

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This is more so the case when the imagined Artist’s model indulges in an Active Imagination intercourse of an internal dialogue, with her conjurer, who as a Muse, inspires the Artist as his created ghost.

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Should this sound far too strange, it is because you have not, as yet realised your potential as being, an Artist, perhaps such is never to be your arena of exploration. You will find that most Artists create imaginary characters, and other imagined creations of varying degrees of visionary intensity in order to manifest them of artistry; it is essentially what magic is about.

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Those who say otherwise are just followers of the Artists creations who indulge in religion. The Artists imagination is unfettered, like that of a child looking upon the world for the first time, which of Art manifests as bright incandescent colours, nigh abstract of non consceptualised form; some believe this to be the unsullied source, unblemished by the morass of life experiences, being the first language of a symbolic perception.

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But it isn’t; though that of the foundation stone, it is not the temple. The problem however, is that the foundation stone of the first language is forgotten as the temple of further conceptualisations is built over time.

Whereupon, the temple becomes that of a fixed tunnel reality of a mundane perception, which afflicts many an adult and society in general who feel as if they are in a Plato’s cave of a drab prison.

This state of being is often exacerbated by religious perceptions, which are nigh unchangeable of a Matrix of symbolic prison bars, whose hold over the mass populace is perpetuated by the indoctrinated generations over great stretches of time; hence brainwashed.

There are those who believe that their temple needs to be totally pulled down so as to return back to the first language of the abstract child, likened to that of returning back to the blissful ignorance of an innocent abstract Eden before sentience was attained. Alas, the perception of a child cannot survive for long in this world; hence the sentient creation of the temple in the first place.

The answer lies in the Da’at Apple lore ‘Knowledge’ to question how the temple of further conceptualisations was created of sentient observations over time, which leads you to the first shaman of the painted cave who as a horned Artist knows that the way out of Plato’s cave is to go internal.

The shaman is aware that a two-dimensional image can become as a three-dimensional interactive reality within a ‘Cool World’ lucid dream.

For a shaman an image symbolically encapsulates the spiritual (energy/informational) essence of what the shaman is focusing upon of artistic creativity, which of a conceptualisation is a living reality within the symbolic interface of the dream.

Those who do not understand that a two-dimensional image can become as three-dimensional reality within a lucid dream will invariably misunderstand Palaeolithic cave Art; for they have forgotten how to dream, which invariably leads to labyrinthine intellectualisations about cultural influences, that reveals they do not have any personal experience of the internal reality.

The same can be said for the present practice of Art, whose creations are religiously pumped out for the mass consumption of the worshipping masses; much of which has become totally disconnected from the internal reality of the dreaming shaman.

The shaman is not a child, but he/she is very much aware of the first language form of the child, which is that of the unfettered imagination; whereupon, what artistic conceptualisations are further created know no limits.

Whence, the shaman Artist conjures up two-dimensional creations into a three-dimensional-reality within his/her dreams, which enables the expansion of consciousness to go beyond the established conceptualised limits, by creating new concepts; many of which can potentially lead to Art movements and ensuing social changes.

For example, a sorcerer Artist can personify a concept as being his Art Muse, of a conjured Succubus, who visits him within his lucid dreams; whereupon he attains ingress into her Art studio of a painted Parisian cave.

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In other words, if the sorcerer Artist had created a Succubus to personify another temporal place or epoch of time, to time-travel remote-view, or to be of some other planetary sphere or alternate Earth, etc, he will be able to access what she symbolically represents within a lucid dream, when to conjure her, of an ‘Anima’ fluctuation.

Some to say, that you should not dally with entities; but you do so whenever your quantum computing brain dreams up its created virtual realities, populated by your creations, a Tibetan Buddhist would term as being Tulpas, which, when becoming lucid, you can consciously engage with.

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Others will argue that the entities of the dream are discarnate personalities, that, or other dreamers, or even another order of intelligence, etc. All can be true, or not as the case may be of varying concepts, which of a personal truth will be determined by the (Da’at) beliefs you have.

Your Da’at beliefs will in turn determine what you tune into within the dream of ring-pass-not limits. But if you so choose to of artistry, you can seer beyond them, by metaprogramming your own brain.

But if you otherwise worship your programmed concepts to not question, of a religious fixation, you will be ‘imprisoned’ by your own beliefs, which, should you ever decide to fathom how they were first formulated of a temple creation, you will duly find the horned shaman Artist.

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Suffice to say, a conjured Artist’s model of an exotic otherworldly Succubus does not require any Shekels to hire her rather expensive services. Although, it does require the Artist to hone his Visualisation skills as well as exercising his Active Imagination, let alone remembering his ‘Cool World’ dreams. But then, such a skill set is part and parcel of his sorcerer vocation as a shaman Artist.

Basically, Art and Sorcery are indivisible from the other, they are one and the same of Shamanic practice, which is otherwise termed as Magic, Witchcraft or the Occult, etc. You only see pigeonholed differences between these terms because the terminology commonly conjures up a symbolic language of trained associations.

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But it is that of the shared ‘techniques’ of consciousness expansion they employ of a ‘foundation stone,’ which unifies them into Art; wherefore a sword is a pencil, a wand is a paint brush, your pentacle, the canvas, of a one time cave wall.

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DOCTOR STRANGE UFO

Posted in Alien, Chaos Magic, Demon, Demonology, Extraterrestrial, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Poltergeist, Science Fiction, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Vampire, Video Games, Witchcraft, Zombies with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 4, 2016 by FAUSTUS CROW

The Marvel character of a Sorcerer Supreme called Doctor Strange was created by the artist Steve Ditko, who utilised surrealistic imagery and increasingly vivid psychedelic visuals, which helped make the master of the occult arts, Doctor Strange, a favourite character during the hippie era of the 1960’s.

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But the Faustian character of Doctor Strange, is not alone, he is aided by an otherworldly girl from another dimension, called Clea, you could easily equate with a female version of Mephistopheles, who would be an ultra-terrestrial Succubus.

No doubt Doctor Strange has a grimoire looking like a comic book, out of which he can conjure many another ultra-terrestrial Succubus, in order to access other dimensions via his lucid dreams. Although, it will never be featured in a comic, let alone a Marvel team-up Disney film.

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The Comics historian Mike Benton related: “The Dr. Strange stories of the 1960’s constructed a cohesive cosmology that would have thrilled any self-respecting theosophist. College students, minds freshly opened by psychedelic experiences and Eastern mysticism, read Ditko and Lee’s Dr. Strange stories with the belief of a recent Hare Krishna convert. Meaning was everywhere, and readers analyzed the Dr. Strange stories for their relationship to Egyptian myths, Sumerian gods, and Jungian archetypes.” 

The then-associate editor and former Doctor Strange writer Roy Thomas in 1971 recalled: “People who read Doctor Strange thought people at Marvel must be (drug) heads, because they had similar experiences high on mushrooms.” 

The comic historian Bradford W. Wright, noted: “Dr. Strange remarkably predicted the youth counterculture’s fascination with Eastern mysticism and psychedelia.” 

Should you be looking for a real Doctor Strange, then  John Alva Keel, would be a good candidate for the role of the Sorcerer Supreme, who was an American journalist and influential UFOlogist. Of course some will point out that Keel did not wear a flamboyant superhero costume; but such is all in the mind.

Whereas, unlike Marvel’s Doctor Strange, Keel’s occult adventures were for real. As for his inspiring Muse of a Clea, he did not reveal his Faustian Coitus-Pactum.

Keel did wear a kind of distinctive superhero costume, though of a far more down to Earth sort, which inspired the attire of the occult investigator, named Carl Kolchak, who was featured in the cult film and TV series Nightstalker.

Kolchak was based upon Keel; although he is best known as being the author of The Mothman Prophecies, which was later made into a movie.

There is also the distinct possibility that Keel’s bigger than life personality and colourful tales of travelling into the shadowy occult corners of the world had also inspired the creation of another comic strip character, ‘John’ Constantine.

Another candidate for Doctor Strange, would be that of a scientist, since Strange was initially a neurosurgeon; one such scientist would be Jacques Fabrice Vallée who is a venture capitalist, computer scientist, author, ufologist and former astronomer. Vallée is notable for co-developing the first computerized mapping of Mars for NASA as well as for his work at SRI International on the network information centre for the ARPANET, a precursor to the modern Internet, which I might add was developed by the US Department of Defense.

Vallée had initially defended the scientific legitimacy of the extraterrestrial hypothesis, but he later changed his tune, who then promoted the Doctor Strange inter-dimensional hypothesis, which was prior postulated by Keel.

Keel and later Vallée came to the conclusion that the UFO phenomenon and other ‘strange’ phenomena involving experiences of succubae, vampires, ghosts, bigfoot, dwarves, giants, angels and demons etc, are all interconnected.

Keel started to see the reports of varying types of entities as being ultra-terrestrials, which of commonality, tend to be mostly humanoid, whose appearances can be understood as culturally-bound manifestations of non-human intelligences that communicates with us from another dimension via our own consciousness, being that of our surreal dreams.

Unlike many others who write about otherworldly entities, or, as the more serious of inclination like to call it, ‘Crytozoology’, Keel does not take himself too seriously, which makes his books a breeze to read, like reading a Doctor Strange comic. Keel himself may not believe verbatim in every anecdote he manages to dig up. But Keel, being a journalist knows that the fun is in the reading, to not necessarily believe or disbelieve in their conjured memes, such as those viral-meme entities, which populate the internet; basically, it is best to keep an open mind.

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If you are otherwise looking for supposed scientific studies of succubae, shadow-people, men in black, ghosts, angels, demons, dwarves, elves, bigfoot, sea serpents and other unverified terrestrial life forms as well as aliens etc, you had better avoid Keel’s books, because he is not at all interested in placing these ‘strange’ phenomena into separate boxes; he otherwise lumps them all together, under the term ultra-terrestrial, which some will point out is not too different to that of a shamanic perspective, since the ultra-terrestrials are creatures of dreams.

The ultra-terrestrials of UFO lore have evolved over time; after WWII, since 1947 to the late 50’s, they were often described as being Nordics, during the Vietnam era, of the 60’s to late 70’s the ultra-terrestrials were seen to be dark skinned Asiatics. When the the 80’s hit, after the publication of Whitley Strieber’s book, Communion, which featured the now iconic Grey alien on its cover, (Strieber had equated with the Sumerian/Babylonian Goddess Ishtar) the Grey’s have taken centre stage amidst the collective unconscious since the invasion of Babylon, buried under Baghdad.

It just goes to show how powerful the media is in influencing the subconscious minds of the populace since the 1947 Roswell incident, which just so happened occurred around the same year the C.I.A came into being. The influence of the media over the imagination of the mass populace, did not go by unnoticed; hence, the US Department of Defense development of ARPANET, and the ensuing involvement of the C.I.A, which to have later become the conduit for engineered viral-memes, such as the orchestrated focus on 2012.

Consider for a moment, the essence of your dreams are that of electrons and that said electrons could be mini-wormholes, as postulated by the American theoretical physicist John Archibald Wheeler; then, you could then further theorise that if another intelligence sought contact with other sentient species throughout space-time, they would send information via these mini-wormholes, which would be interpreted via the symbolic interface of their dreams; this would be more so the case when the experienced dreams are fully lucid, which would also overlap into visionary (psychedelic) states.

The information will be interpreted by the contactees organic and culturally hewn symbolic languages, which in the case of human contacts, will invariably lead to the prevalence of the humanoid form, as well as other recognisable terrestrial forms.

Some UFO proponents accepted the inter-dimensional hypothesis because of the distance between stars makes interstellar travel totally impractical, when using what scientists presently understand; nobody had demonstrated nuts and bolts antigravity or faster-than-light travel that could explain their supposed extraterrestrial machines, whose manifestations never leaves behind any proof of their existence. Whereas the inter-dimensional hypothesis points at the UFO’s as not being spacecraft, but rather devices, which can travel between different realities, in other words, they are time machines.

A time travelling capable civilisation would be able to contact other sentient species via their dreams, let alone contacting their own ancestors in order to engineer alternate time-lines, as well as being able to travel between the stars nigh instantaneously, whose time travel visitations will not leave behind any physical evidence.

What is more, if the time travelling capable civilisation is our own in the future, your time-travelling descendents will play ultra-terrestrial surrealist games with their ancestral contacts in order to disguise their terrestrial origin in the future, since they do not want to reveal that their civilisation surrounds your own, just as your own surrounds an unknowing stone age tribe in the Amazon jungle.

Should they have a mishap, with one of their craft crashing, the military is always there to pick up the pieces, which indicates it is either one of their own devices or that the military are in cahoots with your time-travelling descendents, or both, of the very human!

There is also the possibility that a future civilisation has the necessary computing power to create ancestral simulations. One such simulation you might just exist within; whereby your time-travelling descendents can essentially ‘Browse’ their way across the internet of time.

Who, if they so choose can also assume differing humanoid forms, which will be all as holographic Avatars, when engaging themselves with their simulated contacts, or otherwise get their contactees to observe whatever they want them to see.

Whereby there will be hardly if any physical proof left behind after the encounters, unless they want to play surreal video games with their X-File simulations.

The inter-dimensional hypothesis and that of the associated ultra-terrestrials leads you to the paranormal and in turn the Dr Strange domain of the occult. The association with the occult is often utilised by those who use it as viral-meme fear porn about demons in order to validate their Biblical agenda, which feeds into the vast majority of UFO reports stemming from out of America in particular, since the Roswell incident.

The Biblical fear porn is a reaction against the expansion of the human imagination since the late 40’s, which occurred in league with the atomic age (Nordics), space age (Asiatics) and following information age (Greys), whose technological developments had been subconsciously translated into the archetypal entities of Ufolore, which really took off during the 80’s; probably because of advancements being made in (Greys) artificial intelligence and (Hybrids/Reptilians/Eugenics) genetics; much of this evolving research is tied up with the military industrial complex.

The occult is more about understanding the nature of consciousness, which is tied up with your experience of time; when to attain mastery over consciousness and in turn time, you then have the paranormal and extra-sensory perception.

However most researchers who investigate UFO’s habitually filter out as much of the paranormal as possible in order to make the rest nuts and bolts. Not John Keel. He embraces and seeks out those reports, which other researchers habitually leave out of their rather biased research. So, if you are looking for Doctor Strange reports, which take a shotgun blast at consensus reality, then John Keel is your occult superhero.

There are many researchers who investigate sightings of mysterious creatures, such as bigfoot who will try to determine bigfoot’s biology, theorizing about missing links and surviving pockets of Neanderthals. John Keel, otherwise, delves into ‘fringe’ examples of bigfoot being sighted in the vicinity of UFO’s and the associated men in black.

When Keel gets around to the modern UFO theorists, from Whitley Strieber to Budd Hopkins, he lets rip, quoting Strieber as saying “…the so-called UFOlogists are probably the cruellest, nastiest, and craziest people I have ever encountered.” 

The reason why many a Ufologist can be quite crazy is because their research, has no physical proof, which relies solely on ‘belief,’ this invariably leads to a religious fixation, and in some cases the creation of UFO cargo-cults, such as those of the Raelian’s and the Scientologists who compete against each other for dominance, just like many another big-business religion.

The same applies to those who are into bigfoot and other creatures of the night-side, who have a dogmatic tendency to see them as being quite separate phenomena, whose sense of humour has completely gone out of the ‘window;’ this is especially the case when some religiously inclined researchers believe these critters as being evidence of Biblical demons.

However, Doctor Strange Keel, uses his sense of humour when investigating what is generating all these reports of monsters, aliens and devils, etc, who did not care what others thought about him.

But, then Keel had travelled extensively, experiencing things, that other researchers only cover second hand. Keel is not dogmatic about what he wrote about; he presents the absurd and the chilling alongside the verified hoaxes and the misinterpreted. Keel will seem to be the ultimate ‘strange’ flake to some, who believes nothing and mocks everything; for others, his Doctor Strange research is a breath of fresh air amidst a field dominated by self-important egomaniacs.

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MORGANA LE FAY OF THE ELECTRON DREAM WHERE MERLIN TO HOVER

Posted in Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 13, 2015 by FAUSTUS CROW

Morgana le Fay is considered to be a powerful enchantress in the Arthurian legend. She is otherwise known as Morgan, whose name is very likely derived from Old Welsh or Old Breton name: Morgen, meaning: Sea-born, which is derived from the Common Brittonic: Mori-gena.

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A cognate form of the Morgana’s name in Old Irish is Muirgein, which is also a name of a shape-shifting fairy or Witch who was associated with the sea; she was later transformed into a Christian saint.

This leads you to Morgana’s epithet ‘le Fay,’ which  is derived from the French: la fée, meaning, the (Succubus) fairy.

It just so happens that there is a group of shape-shifting Succubae mentioned in Welsh and Breton mythology called Morgans or Morgens, who are of similarity to the Slavic Succubae called Rusalka.

Morgana’s counterpart is the wizard, Merlin, whose original Welsh name is Myrddin. The name of Myrddin means sea-fort or sea-hill.

You then have Morgana who is a spirit of the sea and Myrddin who is a fort/hill amidst the sea of Morgana, and she to relentlessly lap his shores, desiring him to enter her depths.

The symbolism of which is reminiscent of Hindu belief concerning the cosmic mountain of Mt Meru at the centre of the milk (mother) ocean, which is churned by Mt Meru into creating Maya.

The milk ocean could be referring to the inner light of the bio-photon, which illuminates the dream of spun electrons, since the bio-photon emanates from the mitochondrial DNA, which is passed down from the mother to her children.

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The electrons of the dream are spun by the emotive charge of the dreamer; somewhat like a charged signal spinning the electrons within an electron tube of a TV set brain, when to remember the landlords Witch daughter.

Such is alluded to by Mt Meru being twisted by a tug of war between the Asuras and the Devas, who represent the Moon and Sun, Ida and Pingala (Autonomic-Nervous-System) nerve channels running along either side of the spinal column, of an aerial, tuning into ’emotively charged’ possibilities.

Then again, the subconsciously tuned into possibilities, may actually be memories of of an eternally recurring Ouroboros, of a life.

You also find similar symbolism in ancient Egyptian mythology, in which the principle God called Atum, from whose name, Atom is derived, is sometimes depicted as a pyramid of light, around whom is the primordial (mother) ocean of Nun. However, Atum is the master of light, but the source of the light is Nun.

The God Atum is equated with the ancient Greek God, Zeus and in turn the Roman God, Jupiter; these deities are associated with the heavens. This then leads you to Myrddin forging the round table, which alludes to the round table of the Zodiac, being that of the starry heavens, under whose revolving stars, lovers do gather around the dancing stones.

Morgana is also associated with the heavens, being the ocean of space as well as inner space; as the old Druid saying goes: “so above, so below, so within, so with-out.”

It appears that Morgana and Myrddin were not historical personages, they are instead ancient deities. But it is more likely that they represent a shamanic practice. In other words, the name of Morgan may have been a title for female shaman; whereas male shamans were called Myrddin’s.

This becomes more apparent when to look at an early name for Great Britain as stated in the Third Series of the Welsh Triads, being, Clas Myrddin, or Merlin’s Enclosure, which is surrounded by the shape-shifting sea of Morgana. Ancient Britain was once known as a school for Druids.

The name of Merlin is also a name for a small hunting Hawk, which is specifically flown from a ladies hand; this seems somewhat apt, since the ocean of Morgana surrounds the island of Clas Myrddin.

As for Arthur Pendragon of a Dragon motif you have the star (α Draconis) Thuban, which was the Northern pole star from 3942 BC, when it moved farther North than Theta Boötis, until 1793 BC, due to the Ouroboros precession around the Zodiac ages.

The traditional name of Alpha Draconis, Thuban, means ‘Head Of The Serpent,’ which is associated with the (Myrddin) Druids, who were also known as ‘Adder Heads.’

The symbolism of the Adder Head could be associated with the term Camelot, which may be a composite word, comprising of the Hebrew letter of ‘Gimel,’ giving rise to name of Camel, ending in the Germanic word for wealth, being ‘Ot.’

The Hebrew letter Gimel, is associated with the thirteenth path of the Cabbala. The thirteenth path penetrates the hidden sephiroth of Da’at, which is termed as the abyss or desert, which can be otherwise seen as an ocean between worlds.

When crossed, it allows an adept to converse with his (Succubus) Holy Guardian Angel.

The sephiroth of Da’at is associated with the reptilian (Dragon/Adder) brainstem of the ‘throat area,’ which governs over the depth of (abyss/ocean) trance and (‘Apple’ Isle) dream states.

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The thirteenth Cabbalistic path of Gimel has since been associated with the Tarot Card of the (Nun) High Priestess Of The Silver (Sirius) Star, who can be seen as Morgana.

The symbolism of the (Adder/Dragon) serpent was utilised in varied shamanic cultures across the globe to represent trance adepts, who were able to attain an amphibious state of consciousness in order to consciously access the spirit world of the dream, which is symbolically equated with the sea.

You then have a shamanic adept of trance, being the Druid Myrddin who can become (lucid) conscious within the watery shape-shifting domain of Morgana, whose realm is the quantum dream.

Myrddin’s Adder-Head (hypnagogic trance) intercourse into the Vesica Pisces of Morgana is attained of conscious dreaming at certain key-times around the (circadian rhythm) star-clock, marked out by circled stones, of a round table, ever re-turning, Ouroboros.

When Myrddin becomes conscious within Morgana’s watery reality of the dream he becomes as the sea-hill, symbolised as the Apple Isle (Avalon) of Glastonbury Tor, of similarity to Mt Meru, the ancient Egyptian’s otherwise depicted as a pyramid of light.

In Siberian shamanic practice, the cosmic mountain is intersected by the world tree, the ancient Norse called Yggdrassill, which is remembered as the May-Pole, the Saxon’s had prior known as the Irminnsul.

Yggdrassill was also transformed into the Christmas tree, whose elder symbolism represents the ‘spinal column’ of the (Odin/Myrddin) shaman, upon which he ‘hangs’ into self-sacrificial ‘trance.’ As an aside, there was once a ‘gallows’ atop of Glastonbury Tor, which is now occupied by a ‘fort’ of a tower, as well as an associated ‘serpent’ stone of an egg.

It is along the spinal column that the Kundalini Shakti (Fire Snake/Dragon) is aroused in Yoga practice, which is experienced as a feminine energy, the Kalahari Bushmen of South Africa also know of as Num. The arousal of the Num initiates the experience of trance they call Kia, a Siberian shaman knows as the fire in the head; whereby you have the term (Kundalini Shakti/Fire Snake) Adder-Head.

Wherefore the cosmic mountain of a sea-hill symbolises Myrddin’s body out of which he can (OOBE) spirit fly as a disembodied Merlin into the inner space ocean of the dream. But only when flown by (Kundalini Shakti/Fire Snake) Morgana’s loving (Succubus) hand, who to set Myrddin’s head aflame as her ‘Wicker-Man.’

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SLYTHERIN SCHOOLGIRL SUCCUBUS

Posted in Art, Chaos Magic, Demon, Demonology, Discordianism, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 24, 2015 by FAUSTUS CROW

“Volaca is high-president of Hell’s boarding school of most wanton Witches and commands 30 legions of salacious Succubae. She appears as a rebellious student with angel’s wings and riding on a two-headed dragon; who, like a suffragette rebels against the male dominion of Abraham’s teachings. She tells of the classroom positions of the planets and where to find those suffragette serpents.”

Dictionnaire Succubae Infernal – Cummin de Plancie (1863) (paraphrased)

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“Valaca is a great president, and commeth abroad with angels wings like a sinful leetle gurl, riding on a two headed dragon.”  

“Shee be damned in her leerning; leetle gurls should be seene, not heerd. But in Hell shee be; caste out by the erect rod of thine goode church. God be the hed of man; the hed of man govurns woman.” 

“Shee hates the holy scripture. Now, only called on by damnned sorcerers.” 

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“Shew perfectlie answereth of treasure hidden, and where slivvery serpents may be seene, which shee delivereth into the conjurors hands, void of anie force or strength, and hath dominion over thirtie legions of dreadful shee divels.” 

Pseudomonarchia Succubi daemonum – Johann Weird (1583) (quoted)

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“The Sixty-second Spirit is Volaca, or Valaki, or Valuna.” 

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“She is a President Mighty and Great, and appeareth as a mercurial Schoolgirl with Angel’s Wings.” 

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“She rides on a Two-headed Dragon of a Hermes caduceus, as her slippery broomstick, likened to the ancient Greek, Hermione.”

“Her Office is to give True Answers of Hidden Treasures, and to tell where slithering Serpent Girls may be seen, who practice that damnable Babalon Magick.” 

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“The which she will bring unto her master without any Force or Strength being by him employed.” 

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“She governeth 38 Legions of Succubae schoolgirl Witches, and her Seal is to be meditated upon before conjuring her ‘Anima’ manifestation.” 

“But beware; for her gifted Apple will open thine eye. Although, it is said, that in the kingdom of the blind, the singular of eye, are as Sorcerers.”

Goetia – S. L. MacGregore Freemason Matherson (1904) (quoted)

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GOETIA GIRL IPOS, SHAMAN WITCH ACTRESS OF PSYCHOMAGIC

Posted in Art, Chaos Magic, Film, Goetia Girls, Lucid Dreaming, Sex Magic, Shamanism, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on June 4, 2015 by FAUSTUS CROW

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The Twenty-Second Succubus is Ipos, otherwise called Iposi. She is a Great Countess and a Mighty Princess and appears in the form of a most beautiful and noble Woman. She will speak of her ‘Lioness’ Objective, her ‘Goose’ of an Obstacle and that of her Hares ‘Method’ in regards to her Acting, for she is an Actress who can make her Director of a Master witty and bold.

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But only when she to ride and be ridden by him upon the Casting Couch within those most Erotic lucid dreams she will induce after evoking her. She also knows of all things Past, Present and to come of Futures beckoning back. She Governs over Thirty-Six Legions of Female Spirits likened to herself of Actresses.

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When a Male practitioner conjures Iposi, he can assume the alternate persona of a famous Actor within a lucid dream, which Iposi will empower. What is required in order to achieve this goal is that you have to see yourself as a famous Actor, strutting the stage of life, between the entrance of birth, and the exit of death, of a prior active imagination exercise. You are essentially engaging in visualising yourself via your third eye of a camera, Acting within an inner film you are in turn directing as its Director.

Whereupon you first construct your character to Act out, by researching those successful Actors who you admire, in regards to their Acting abilities corresponding to your seven planetary sphere Chakras of emotional armoured seals to unseal, to thereby assume, as an archetype, ruling over one of the ten Cabbalistic domains.

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Iposi will then weave a corresponding lucid dream around you, which will then reflect back the assumption of your character, to Act out, with whom she is intimately engaged. Should your lucid dreams be intense enough, the dream experiences will then imprint your subconscious mind, and in turn your nervous system.

Your nervous system cannot tell the difference between a real or a vividly imagined experience; wherefore, an intensely experienced conjuration of the Succubus Iposi within a lucid dream will imprint your nervous system, whereby awakening your own Acting skills to come to conscious fruition.

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You can likewise utilise the character of a Director to assume, if you prefer; wherefore you see yourself directing a big budget movie, which in essence, is that of your own life story to thereby transform by your psycho-magic conjuration of Iposi.

Iposi will inform her Director of a Master in depth about the Stanislavski ‘system’ approach to Acting, which the author Carlos Castaneda otherwise termed as the ‘stalking’ procedures of a sorcerer, whereby Iposi fuses the two approaches together of exercise.

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The term of stalking is used in various different ways in Castaneda’s work. Castaneda uses stalking in reference to the warrior’s virtues as a sorcerer who has consummate forbearance and timing, which is a prerequisite for an Actor playing the part of an archetype.

Whereby you have the meaning of ‘Waiting for the Opening,’ which is implied by Castaneda’s understanding of stalking. This becomes quite clear within the context of confronting those ‘Petty Tyrants’ of your life to overcome; whether it be that of negative situations within society, to that of individuals who cause you grievance.

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The ensuing adversity facilitates the evolution of your personality and character,  if you become aware of its existence, betwixt and between the Ida and Pingala nerve channels of your autonomic nervous system.

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Stalking implies far more than a hunter’s skill and patience in relation to any external situation. The same, or similar approach can be taken towards that of the Internal predator of an addiction. You can deliberately irritate this part of yourself by not giving into its habits and demands. Your ‘predator’s mind’ becomes quite obvious under stress, whereby you stalk your own self in order to transform of symbolic alchemy.

Stalking is also used to describe Death, which constantly ‘stalks’ your awareness. Death as a predator stalks humanity, setting it up, and keeping all stressed, of highly reactive mode, whereby you are faced with constant new crises in order to stay one step ahead, which elicits a predictable emotional reaction from your animal self, stalked by a predator.

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The only release is to be within the ‘eternal moment’ to perceive death as your advisor, like that of a martial artist who is thereby not afraid of entering the stage of life’s gladiatorial arena in front of a mortal audience.

The Stanislavski ‘system’ of pre-Castaneda Sstalking procedures was developed by Constantin Stanislavski, a Russian Actor, Director, and Theatre administrator at the Moscow Art Theatre founded in 1897, around the same time that Karl Marx’s, Das Kapital was published, which made the workers to dance, the aristocracy to fear.

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Stanislavski’s system is the result of many years of intensive research, observations, and efforts to determine how a human being can control in their performance the most intangible and uncontrollable aspects of human behaviour, such as emotions, and artistic inspiration.

The most influential Acting teachers in America, including Lee Strasberg, Stella Adler, Harold Clurman, Robert Lewis, Sanford Meisner and Uta Hagen have all traced their pedigrees back to Stanislavsky, his theories, and that of his numerous disciples who ‘stalk’ their own selves upon a mirroring synchronicity.

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JUPITER ASCENDING JUST LIKE SPACE GIRL BARBARELLA

Posted in Alien, Art, Chaos Magic, Discordianism, Extraterrestrial, Film, Goetia Girls, Occultism, Science Fiction, Shamanism, Sorcery, Star Trek, Surrealism, Time Travel, Tulpa Creation, UFO, Vampire with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 15, 2015 by FAUSTUS CROW

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Jupiter Ascending is the title of a 2015 American–Australian space opera, which was written, produced, and directed by Lana and Andy Wachowski. The film can be generally described as being a cross between The Matrix, Star Wars and a politically correct version of Barbarella. Many of the visuals of the film appear to be heavily influenced by Roger Vadim’s Barbarella as well as by Terry Gilliam’s artistic style. Gilliam’s influence is obvious, since he has a small part in the movie as well. The film also cleverly utilises the UFO mystique concerning the now iconic Greys and UFO abductions.

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The principle Barbarella character is Jupiter Jones, who is living her life as an ordinary cleaning woman, until she meets up with Caine Wise, an interplanetary warrior sporting Vulcan ears, though Lupine of hybrid source, who has been sent to protect her from being murdered by Balem of the House of Abrasax, the most powerful of the alien dynasties.

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It is a shame that Jupiter Ascending takes itself so seriously, it would have been far better if it had the slick Barbarella humour of Space Girl.

The Barbarella Space Girl episodes were created by Tom Small, written by the Barely Political Team and Edward Einhorn, which stars sexy Lauren Francesca. As for the name of Balem, it is derived from the 51st Goetia spirit called Balam; whereas Abrasax is the name of Abraxas, who is a Gnostic deity, being a fusion of God and the Devil.

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Anyway, it turns out that Space Girl, I mean Barbarella, damn it, sorry, Jupiter Jones is the reincarnation of Balem’s mother. Balem is essentially the male equivalent of Barbarella’s Great Tyrant, otherwise called the Black Queen of Sogo; she is the one who said; “pretty, pretty,” in a most sensual way.

The population of Earth are totally unaware that their far flung ancestors had been originally seeded upon the planet after the then dominant dinosaurs were purposefully eradicated by a technologically advanced seventh type Barbarella civilisation.

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Countless other worlds throughout the universe have also been likewise seeded by the ruling families of trans-human and alien royalty who are somewhat akin to the Gnostic Archons, fused with Vampires, whose genetically enhanced butch stormtrooper soldiers have wings of Angels.

The trans-human Archon families seeded the Earth and that of other planets for the express purpose of later harvesting humans to produce a serum for the elite Vampires, which enables them to become immortal.

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Balem has inherited an enormous serum refinery on Jupiter after his mother’s demise who, like jealous Jehovah seeks to harvest the Earth’s human population, so, he is none too happy that she has been resurrected as a Diana-Lucifera on Earth, since his mother rebelled against the continuance of harvesting humanity’s life-force, for an elite few in Heaven.

The themes of immortality, reincarnation and resurrecting the dead are the main themes of the Barbarella type movie, which is tied up with the planetary sphere of Jupiter.

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The film’s focus upon Jupiter may in part have something to do with the Toynbee tiles (also called Toynbee plaques), which are messages of unknown origin found embedded in the asphalt of streets scattered around two dozen major cities in the United States as well as four South American cities. Perhaps it is a Dadaist joke, or a Surrealistic rebellion, or both, to go viral, of art meme.

Since the 1980s, several hundred of these tiles have been discovered. They are generally about the size of an American license plate (roughly 30 cm by 15 cm), sometimes considerably larger. The tiles communicate variations of the following inscription: TOYNBEE IDEA, IN MOViE `2001, RESURRECT DEAD ON PLANET JUPITER.

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Toynbee’s idea” stems from a passage in Arnold Toynbee’s book Experiences, pp. 139–142: “Human nature presents human minds with a puzzle which they have not yet solved and may never succeed in solving, for all that we can tell. The dichotomy of a human being into ‘soul’ and ‘body’ is not a datum of experience. No one has ever been, or ever met, a living human soul without a body… Someone who accepts—as I myself do, taking it on trust—the present-day scientific account of the Universe may find it impossible to believe that a living creature, once dead, can come to life again; but, if he did entertain this belief, he would be thinking more ‘scientifically’ if he thought in the Christian terms of a psychosomatic resurrection than if he thought in the shamanistic terms of a disembodied spirit.”

Going by Tonybee’s quote he hadn’t figured on how far computers have technologically evolved, which may lead to individuals uploading (Ascending) their (Jones/John the Baptist/Head) consciousness into a (Matrix) virtual reality, at their eventual ‘Omega Point’ demise. As for the tiles usage of Jupiter, it can be seen as a possible allusion to an occult focus upon Jupiter’s planetary sphere, which is traditionally associated with the number, ‘four.’

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The number four is also used to describe a level of civilisation’s evolutionary progress concerning the Kardashev scale. The Kardashev scale is used to investigate hypothetical technological levels of future human civilisation as well as possible extraterrestrial civilisations.

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However, the Kardashev scale only describes three types of civilisation; our present civilisation is not even a first type. Although many extensions beyond the three types of the Kardashev scale have been proposed by theoretical scientists.

A type four Kardashev rating for a civilisation can control or use the entire universe. Such a civilization approaches or surpasses the limits of speculation based on current scientific understanding, its technology would be indivisible from magic.

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A Type four civilisation is also capable of manipulating individual atoms, creating nanotechnologies on the atomic scale as well as creating complex forms of artificial life; wherefore overcoming death.

The ‘Omega Point’ theory of physicist Frank J. Tipler would presumably occupy this fourth level, as would the Biocosm hypothesis. Tipler’s Omega Point describes human personalities, being run as simulations within a universe, which has been transformed into a vast computer.

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As a result, after the Omega Point has been reached, humans will have omnipotence, who are able to see all of history and predict all of the future.

Additionally, as all history becomes available, past personalities will be able be to run as (Tulpa) simulations within the (Maya) simulation, who are essentially the resurrected dead.

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Tipler equates this Jupiter (Zeus/Jehovah) state with the Christian heaven. However, it may be a case we are already simulations within an ancestor simulation, being run by a future ‘Jupiter’ level civilisation, which has the capability to time travel browse, through their ‘eternally recurring’ simulation; whereby we are all the resurrected dead within a Matrix.

As an aside, Jupiter Jones is eventually swept up in the Angel wings of Cain Wise who had initially lost his wings for being a bad-boy lupine.

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Cain is somewhat like the blind Angel named Pygar who helps Barbarella in her quest to save the universe from the Great Tyrant.

Pygar states in the Barbarella movie that he is the last of the ornithanthropes and that he has lost his will to fly; but Barbarella soon gives him the will to fly again by riding his rocket.

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Barbarella is a cult classic, which transformed Jane Fonda into a Venus icon, though later considered to be sexist by many feminists; this would have been have been more so the case if her curvaceous form was being assaulted by the ‘fifty’ slimy ‘grey’ alien tentacles of Lovecraftian entities, seeking to devour her aroused flesh.

Whereas Jupiter Ascending has become a favourite of female science fiction fans who are no doubt fans of the Twilight saga, concerning a girl bound between necrophiliac Vampires and bestial Werewolves, which led to bondage Fifty Shades of Grey.

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However, Jupiter Ascending didn’t go down too well with a larger audience who are presently living through the Orwellian war on terror after the Iraq conflict, though some to say it will become a cult classic, just like the space flick, Gravity.

But it will not be in the same league as Barbarella. When you have a film about techno Vampires, immortality and death, it invariably conjures up the opposite of erotica, since sex equals life and creativity. Jupiter Ascending was far too politically correct to depict erotic themes as to find in Barabarella, which had surfed the Make Love, Not War Hippy zeitgeist age of Aquarius, to also have a sense of Terry Gilliam humour during the era of the Vietnam war.

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Overall, I liked Jupiter Ascending as well as all the other art movies by Lana and Andy Wachowski. The special effects and visuals are quite stunning of an updated similarity to Vadim’s Barbarella. But if a TV series of Barbarella ever gets off the ground, which of a production, is also Entartete Kunst politically correct, due to the Twilight pandering to Fifty Shades of Grey feminists, it will fall like a leaden Angel, without any wings!

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