MAGU GODDESS OF CANNABIS

Faustus Crow decided to conjure an ancient Chinese Art Muse archetype of the Fallen Anima, who is mantra named, Magu. Although translating her Succubus name of a mantra into mundane English is however, problematic, depending upon whether her evocative name is symbolically interpreted as being a Maid, Priestess, or a Goddess of Cannabis.

Some researchers have proposed that the Chinese, Wu, for Shaman is pronounced, ‘Myag’ in Old Chinese, which might be the original of the Old Persian Maguš, thence leading to Magician and Magi. Whether such is comparable with Magu, is of course purely hypothetical. But if correct, Magu is also a Shaman girl of Hemp, whose alternative name of an ancient root word, Ma, which is pronounced as Mar, leads you to Marijuana.

Magu is also called, Mago in Korean, and Mako, in Japanese. Mago is a cosmogonic Hemp Goddess in Korean Shaman myths. There are some researchers who see Mago as the Great Goddess, who propose Magoism, as being the archaic gynocentric cultural matrix of East Asia, which derives from the shamanic worship of Mago as a creatress, progenitress, and a sovereign deity.

According to the Budoji, Korean mytho-history, it had began with the era of Mago. Whereas the Japanese Mako is usually a literary reference to the Chinese story about Magu’s distinctively long birdlike fingernails, whose neuro-somatic essence can make your head grow wings, and disappear into a spiraling vaginal vortex.

For example, the Japanese saying, “Mako soyo,” meaning, “Magu scratches the itch,” metaphorically means, “things are going just like you have…Imagined,” when you imagine (visualise/active imagination) with your, inner ‘Eye,’ amidst your Triangle Of Art imagination.

Magu appeared amidst Crow’s Triangle of Art Imagination as a beautiful young woman of eighteen or nineteen years of age, having luxuriant four-inch birdlike nails.

At first her hair was done up, having several loose braided strands, which hung down to her slim waist. Then her hair was long and luxuriant, and upon her head she wore a fluorescent peaked cap. Her tight trance dance clothing of Hemp had a pattern of eyes, but it was not woven; it seemed to shimmer, dazzling the inner observer, and was indescribable.

Her overall hypnotic look was likened to a shape-shifting Anime character out of a Manga – she was not of this world.

She approached and bowed to Crow, who bade her rise. Then as she arose a vivid active-imagination vision of China town appeared around Crow, wherein he found himself approaching a bustling market with Magu.

Magu sat down upon a market bench behind a small I-Ching engraved table. The bench was ornately carved with interlacing dragons. She bade Crow to sit down next to her upon the bench, which became as a jade throne.

When Crow imagined himself sitting down next to, Magu, she called for a travelling canteen of cooks who manifested as DMT Machine Elves looking like pointy eared Vulcan maids wearing next to nothing apart from stiletto ballet shoes and T-shaped chef hats, making them look like Magic Mushroom fetish Ballerinas.

The psychedelic Ballerina maids cooked up exotic Star Trek dishes, which were piled up on gold platters along with serving jade cups containing an inebriating pineal gland elixir without limit.

There were also rare delicacies from around the world, whose alchemical recipes stem from other Zodiac ages; many of them made from Cannabis, and their spectral fragrance permeated the mouth to lung air of the ghostly market.

There was also meat made out of Marijuana, the bookish magician-technicians called Shujia, consume with ginseng, which gives them preternatural knowledge of events in the remote-viewed future.

When the meat was sliced and served, it resembled broiled Mo, and it was announced by the giggling Elfin Ballerina maids as being derived from a Kirin or Qilin.

The Elfin Ballerina maids informed Crow that the Kirin is a mythical hoofed chimerical creature known in Chinese and other East Asian cultures.

Crow noticed that the Elfin Ballerina maids had perfect Kung Fu poise as they tip-toed around him on their Kirin hooves, who further revealed that the Kirin appears with the imminent arrival or passing of a sage or illustrious ruler.

Magu nonchalantly ignored the Elfin Ballerina maids as she took a deep draw on her Cannabis oil vape, whose flicking tongue looked to be serpentine. Magu then declared through the thick CBD vapour: “Since I entered your eternally recurring service, I have seen the Eastern sea turn into mulberry fields three times.”

“As I proceeded across from Penglai, so as to enter your Triangle of Art imagination, the Soma waters of the ‘Elixir Of Life’ came only up to my waist, which I regularly imbue with my healing essence, when I bleed.”

“Using my Daoist Arts, I sometimes walk across the astral waters, even in my Hemp shoes. I wonder whether the electron sea dividing the myriad worlds will turn to a dry land-bridge once again?”

Magu seductively passed her vape to Crow, who partook of a deep draw on its CBD oil, and answered with a sigh, “Oh, the sages all say that the Eastern Sea will again become as a desert of the Allies around the Moon phases, when the Fallen Anima and her Succubae Art Muses return, manifesting upon Hemp paper.”

Magu laughed, and then said, “There was a time long ago when I was known all over ancient China and across the globe, whose peoples relied upon my life bestowing properties. But later during a time of great darkness a greedy megalomaniac from another land, murdered me and dumped my body into a deep lake.”

“Following the current of time, I floated upon the tumultuous waves, down the ages until I once again reached a Göbekli Tepe Zodiac age temple.”

“A subordinate Shaman of a prior aeon had directed that I should be entombed there, but not immediately buried, in order to avoid me from being entirely eradicated by the insanity of the later murderers who ever seek my demise.”

“A square, lacquered coffin has now zeitgeist appeared in the shrine hall of the uncovered temple. From now on, at the end and beginning of each lunar month, people will look back through the fog of memories to understand my indistinct Bhang ghost, wearing Hemp shoes.”

“Because of the present climate change, which the greedy megalomaniac and his corporate cronies have exacerbated, the lands around my temple and further afield have become polluted.”

“The insane violators are facing losing their illusory power and influence, drowning in their own lying poison, who are becoming increasingly desperate.”

“The murderers will be whipped and flung to the ground, their eyes running blood, who will then realise I am the divine transcendent, Shenxian. Those who know me, are the ones who read the thoughts of the murderers, and it will be they who will do the punishing.”

“The Shamans seek justice, who have hope in healing the Earth. It is the Shaman within all who are conjuring my return, reborn anew. Because I had suffered a painful death, I hate to see other beings cruelly murdered because of the corporate greed of a few inbred ingrates.”

Here ends Faustus Crow’s Surrealist ‘divergent thought’ active imagination conjuration of a Fallen Anima archetype who is mantra named, Magu.

NOTE: For over a decade, industrial Hemp growing in proximity to the abandoned Chernobyl nuclear power plant in Pripyat, Ukraine has been helping to reduce soil toxicity. But Hemp cannot be used around Fukushima because it is banned in Japan due to the prohibited use of Cannabis, which had been first initiated in the USA.

Hemp has little THC content, which cannot make you high, yet it is banned, does this make any sense at all? Maybe you’ll have to indulge in some THC rich, cancer combating Marijuana in order to see beyond the lying facade of the politicians, or at the very least take some anxiety reducing CBD oil, which will give you an ‘insight’ into how the mass populace have been collectively brainwashed.

As a proven, valuable plant in the fight to repair human-inflicted damage to our soils and ecosystems, Hemp could benefit hundreds of thousands of polluted sites across the globe. it is estimated that in the USA alone there are 30,000 severely damaged sites requiring remediation.

As is so often the case, US restrictions on Hemp cultivation precludes any large-scale operations from being implemented, and the contaminated sites are largely left unremediated, through lack of both funding and interest on the part of the US government and other governments who whore themselves with the Oily corporations.

The likes of Elon Musk should look into Hemp, since Musk says he is into saving the planet, who might be interested in the Supercapacitor capability of Hemp, along with Hemp based batteries for his Tesla car, whose shell can also be made out of Hemp.

Considering all the myriad uses that Cannabis allows for, it does make one wonder whether it had been genetically engineered by an advanced civilisation. However, the truth might just be far stranger, that the evolution of the Cannabis plant has its self, intelligently evolved, by having a symbiotic relationship with humanity.  

Who knows, when Musk eventually realises his dream of colonising Mars, the logo on the side of the spacecraft and that of the Star Trek others might be that of Magu’s humble Cannabis leaf.

Since Magu can survive the rigors of Chenobyl, she sure can handle the terraforming of an already terraformed Mars.

NOTE: Bhang was first used as an intoxicant in India around 1000 BC and soon became an integral part of Hindu culture. In the ancient text Artharvaveda, Bhang is described as a beneficial herb, which “releases anxiety”. Bhang preparations are sacred to Shivam who is represented by Saturn in Vedic Astrology.

Bhang goli (Cannabis paste ‘Balls’ for making Bhang) can be associated with the planet Saturn and in turn Shiva who is also associated with (Kundalini Shakti Yoga) serpents. One of Shiva’s epithets was “Lord of Bhang” as he is said to have discovered the transcendental properties of the (Magu) mixture.

The mixture involves pulversing the Cannabis plant using a large pestle and mortar, other methods involve utilising a stone tool, such as one having a handle. The mixture is then placed into a large bowl. The symbolism of a handled stone tool and a bowl can be found on the Göbekli Tepe standing stone, above the bird symbolism of what can be seen as a Garuda, which is associated with the constellation of Aquila. Garuda is an essential part of the Vaishnavism mythology.

The Garuda also features prominently in Shaivism mythology. Shaiva texts such as the Garuda Tantra and Kirana Tantra, and Shiva temples have a Garuda bird representing Atman, the universal self, identical with the eternal core of the personality, which after death either transmigrates to a new life or attains release (Moksha) from the bonds of existence.

Shiva’s proto-form was Rudra who corresponds with the Orion constellation in ancient Greek myth. Orion was a great hunter and became quite boastful about his skills, claiming there was no animal he could not kill. When Orion boasted to the Goddess Artemis, that he would kill every animal on earth, Gaia, the Goddess of the Earth, sent Scorpius (constellation) to kill Orion. A great battle ensued which saw the demise of Orion.

The Göbekli Tepe symbolism of the headless figure (Rudra/Orion: Shiva) and that of the bird/Garuda indicates the ecstatic release of his ‘Atman.’ In other words, the headless figure represents a Shaman who partakes of (Magu) Bhang, whose spirit then becomes as a bird/Garuda.

ART IS MAGIC, MAGIC IS ART

There is some confusion as to what Magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of Magic. Magic in its earliest form is often referred to as “The Art”.

Because I am a bearded Wizard of the Comici Arcanum Guild, knowing Wizard stuff, I know this is completely literal. I know that Magic is Art, and that Art, whether it be Painting, Writing, Music, Sculpture, or any other form of Art is literally Magic.

Art is, like Magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness. The very language about Magic seems to be talking as much about Writing or Art as it is about supernatural events.

For example, an illustrated proto-comic book of spells, called a Grimoire , is simply a fancy way of saying grammar. Indeed, to cast a spell, is simply to spell, to manipulate words, to change people’s consciousness.

And I believe that this is why an Artist and a Writer of a comic book Grimoire is the closest thing in the contemporary world that you are likely to see to a Wizard.

I believe that all culture must have arisen from cult. Originally, all of the faucets of our culture, whether they be in the Arts or Sciences were the province of the Wizard.

The fact that in present times, this Magical power has degenerated to the level of cheap entertainment and manipulation, is, I think a tragedy.

At the moment the people who are using Shamanism and Magic to shape our culture are neuro-advertisers. Rather than try to wake people up, their Shamanism is used as an opiate to tranquilize people, to make people’s reptilian-brain-stems more manipulable.

Their Magic box of television, and by their Magic words, their jingles can cause everyone in the country to be thinking the same words and have the same banal thoughts all at exactly the same moment.

In all of Magic there is an incredibly large linguistic component. The Bardic tradition of Magic would place a Bard as being much higher and more fearsome than a Magician.

A Magician might curse you. That might make your hands lay funny or you might have a child born with a club foot.

If a Bard were to place not a curse upon you, but a satire, then that could destroy you. If it was a clever satire, it might not just destroy you in the eyes of your associates; it would destroy you in the eyes of your family.

It would destroy you in your own eyes. And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries.

Then years after you were dead people still might be reading it and laughing at you and your wretchedness and your absurdity. Writers and people who had command of words were respected and feared as people who manipulated Magic.

In latter times I think that Artists and Writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that Art and Writing are merely forms of entertainment.

They’re not seen as transformative forces that can change a human being; that can change a society.

They are seen as simple entertainment; things with which we can fill 20 minutes, half an hour, while we’re waiting to die. It’s not the Wizard job of the Artist to give the audience what the audience wants.

If the audience knew what they needed, then they wouldn’t be the audience. They would be the Artists. It is the Wizard job of Artists to give the audience what they need.

The above excerpt was slightly adapted from an article by the Wizard Artist

– Alan Moore

TIME TRAVEL WITCH PONY-GIRL

The artwork above depicts an alternative version of the fifty-fifth spirit called Orobas, who is listed in the the Grmoire, entitled the Goetia.

The conjuration of Orobas has been popularised among the occult fraternity by the American author, lecturer, musician and occultist, Lon Milo Duqette, who described summoning Orobas in his autobiography: My Life With The Spirits.

Duquette’s conjuration of Orobas occurred before his ascent to fame, which at the time had initiated some intriguing synchronicities.

Orobas is classically described as being a male entity of an ‘Animus’ archetype, who initially manifests as a small ‘Horse,’ before assuming human form.

Whereby, when you reverse ‘Animus’ fixated symbolism of the Playgirl grimoires, to otherwise imaginatively have an ‘Anima’ expression of a Succubus, you then have the symbolic motif of a Ponygirl, who can also be equated with a Witch, to name as Orobasi.

The name of Orobas is derived from the word: Ouroboros, which is a term for an ancient symbol of a snake eating its own tail.

The symbol of the Ouroboros describes, Eternal Recurrence, which a physicist would otherwise term as a closed timelike curve; this leads you to time-travel. Hence that of the symbolic association with Doctor Who’s TARDIS.

The shamanic deity of Norse mythology, called Odin, the Saxon’s named as Woden, is the ancient forerunner of Doctor Who.

(Doctor Who was originally a Male Role-Model, before the heavily controlled mass-media decided to Socially Engineer Doctor Who for their political agenda.) 

Odin, rode an Eight-Legged-Mare called Sleipnir, which can be equated with Doctor Who’s TARDIS.

Orobasi manifests as a Succubus manifestation of the Fallen ‘Anima,’ whose archetypes have been castigated out of the the ‘Animus’ dominated paradigm.

The above artwork at the head of this article is a depiction of an ‘Out Of Body Experience,’ of which the dreamer is carried by the Ponygirl, Orobasi through time, within a lucid dream as Doctor Who, of a youthful memory.

Then again, perhaps the dreamer has departed from this mortal coil. What the dreamer, or discarnate soul of the individual to then experience is somewhat similar to Little Nemo In Slumberland; although his out of his ‘Skull’ Bardo adventures are somewhat ‘Crossbone’ trance ‘X’ rated.

This leads to his future self being able to influence his own past via a self induced lucid dream, which of an ability is symbolised by (Orobasi) the Ouroboros.

Basically, he possesses his own self, and should he remember his future self, now as a dream, to once again awaken as a youth, he is then able to recreate himself anew; for his elder self has beckoned back through time via his own dreams by riding Orobasi.

THE MAGIC CHRISTIAN

Erik Jan Hanussen was a stage magician, publicist, charlatan, hypnotist, mentalist and clairvoyant performer, whose name was synonymous with psychic phenomena in Central Europe, during the Weimar Republic of Germany, who also had a part to play when the National Socialist Party ascended into power.

In Berlin, Hanussen was an occult rock star before there were rock star occultists, who had a vast business enterprise, which traded in on the voracious German hunger for all things paranormal of a prior neo-Gnostic Christian Newage infatuation.

Although Hanussen claimed to be a Danish aristocrat, he was in fact a Moravian Jew, born as Hermann Steinschneider in Vienna.

Hanussen is said to have instructed Adolf Hitler in his hypnotic performances of having a charismatic effect upon the crowd.

He apparently predicted the Reichstag fire, which of a false flag event allowed the recently appointed Chancellor of Germany, Adolf Hitler to seize absolute power in 1933; it is considered to be his most famous feat of clairvoyance. However, It may have been a miscalculated use of inside information, in order to warn the public, which probably led to his death shortly thereafter.

Hanussen was assassinated on March 25, 1933, whose corpse was hastily buried in a field on the outskirts of Berlin, near Stahnsdorf.

There are those who believe that he was murdered because of the competition with Hermann Göring and Joseph Goebbels for the attention of their Führer. Hanussen’s body was discovered over a month later.

There are unsubstantiated claims that he may have been involved in the Reichstag fire, hypnotizing and directing Marinus van der Lubbe, the convicted arsonist, to commit the act.

Hanussen is a curious historical oddity, which has led to much convoluted myth making concerning the Nazi’s being intimately entwined with the occult, as well as seeking to usher in a pagan religion, worshipping the Sun; however, Christianity is a Sun worship religion, whose Cross represents the Solar Cross of the Zodiac amidst the twelve signs of the Apostles.

The Nazi regime was far more interested in the scientific developments of having total control over the population. Should the Nazi regime had indulged in the occult, it would be because of using its archetypal symbolism for propaganda purposes, of psychological warfare, as well as for mass-mind control via viral-meme advertising.

One of the technological tools to achieve control over the populace, was, and still is the dosing up the public water supply with the known sedative, Sodium Fluoride, which calcifies the pineal gland.

It appears that the Nazi regime first used Sodium Fluoride in the ghettos and concentration camps, whose scientists no doubt knew about its effects upon the inmates.

Another stage magician and practicing occultist called, Franz Bardon, claimed that Hitler was a member of a Masonic lodge calling its self, the Freimaurerischer Orden der Goldenen Centurie, F.O.G.C.

Bardon related that the supposed ‘Golden Dawn’ members of the F.O.G.C were all possessed by Goetic demons, of similarity to the present fixation upon the Illuminati being controlled by ultraterrestrial reptilians, or extraterrestrial Greys.

Such myths appear to be engineered as viral-memes, for the express purpose of disinformation, which of design, are used to get the general populace to look elsewhere, rather than to see the most obvious.

If you otherwise see the obvious, you are then tarnished as being a nut job, of similarity to those, who have been led to believe in Biblical demons or aliens running the world.

The wholesale Nazi involvement in the occult is not in fact true, it is a fanciful blind, which shrouds the truth amidst a cloak of engineered disinformation, in order to distance Christian involvement in the horror of the holocaust.

This is due to the Church of Rome, along with many a Christian industrialist, who were far more concerned about the Atheist Communists attaining power in Germany. Suffice to say, they would prefer the general public to forget their support of the Nazi regime, since it is very bad for their big-business image.

But, in order to remember, all you have to do is to look into the Spanish Civil war when the Church backed the fascist regime against the Communists, which is of similarity to what has occurred, and sill goes on in South America, let alone Africa.

Factual history reveals that when the National Socialist Party came to power in Germany, they set about banning numerous occult orientated organisations, such as the Masons in particular, as well as neo-pagan groups, whose alternative viewpoints differed from that of Christianity.

Whereupon Bardon was sent to a concentration camp due to his occult affiliations, not because he refused to be involved in a Nazi occult group. This may explain why Hanussen was assassinated, because he was far too close to Hitler; hence considered to be an embarrassment.

This would be more so the case if Hitler had found out that Hanussen was in fact Jewish. Hitler was essentially a Christian, who explicitly said so in his book, Mein Kampf, whom sought to usher in a ‘Golden Dawn’ of an Aryan Christianity.

You might say, that an Aryan Christianity sounds rather contradictory, since Jesus was a Jew; this is where it becomes absolutely crazy.

The Roman Catholic Church since the medieval era had a habitual dislike of the Jews, who were collectively castigated as being the (Judas) murderers of Jesus, which of a racialist rot in society, invariably led to the ant-Semitism of WWII Germany.

Why did the Church of Rome target the Jews? well, it is quite obvious, Christian Rome had appropriated the ancestral-self-identity of the Hebrews, hook line and sinker, which is undeniable!

It was then forced upon all those under the rule of Rome; this then led to the eradication of the ancestral-self-identity of the Europe during the Witch burning era, in order to convert the then pagan people’s of Europe to Christianity; wherefore forcing the populace of Europe to assume the ancestral-self-identity of the Hebrew’s.

When you apply psychology to the matter, an individual who copies another person, will at first seek to be better than the original, who will duly claim to be superior; this insanity can lead to the copy attempting to murder the original. You can thereby determine that the mass populace of Europe went quite insane, due to Rome’s appropriation of the ancestral-self-identity of the Hebrew’s.

The appropriation of the ancestral-self-identity of the Hebrew’s, was not the first time that Rome used this technique of Empire building, it habitually copied other cultures throughout much of its long history, such as copying the ancient Greek’s for example; whereby assimilating them until they no longer existed of a former glory; or that of otherwise being decimated, like Carthage.

If these other cultures survived the process of assimilation, they became as hollowed out shells of what they once were, like that of Egypt. An analogy would be that of the Star Trek Borg assimilating (converting) other species into its centralised collective. The tried and tested technique of assimilation worked, which made Rome the most powerful city in the ancient world, whose empire lasted for approximately a thousand years, due to its Borg mentality.

Although Rome eventually fell, it has the knack of resurfacing as a political influence via its religion. But why did Rome assimilate Christianity in the first place? It was purely because of political power. Much of Rome’s grain, gold and exotic goods was derived from the Middle East. The native population of the Middle East were well aware of this weak spot in Rome’s imperial armour; wherefore, you had Jewish rebels kicking up a dreadful stink in the Middle East, who had Rome’s Romulus and Remus sweaty balls in a vice.

Hence the reason why their temple of Solomon was burnt to the ground by Rome; although, the Jewish rebels got their revenge when they nearly burned Rome to the ground, during Nero’s stint in power; he didn’t know what had hit him. This singular event led to the rounding up of the early Christian’s to feed the bloody arena, who were considered to be vile terrorists.

You might point out that there were other people’s in the Middle East, who rebelled against Rome’s Empire; however the Jews were a very different kettle of fish, due to their religious zeal, which cohered their rebellious focus as being the chosen super-race of their God.

When the Emperor Constantine eventually assumed power in Rome he set about using Humanist Greek philosophy against the religious cohesion of the Jews as being the self perceived chosen race, by creating the opposite religious perspective of Christianity, that all humanity are chosen by their God. He basically used their religion against them!

Constantine was a crafty fellow, who recognised that the Jewish rebels suffered from a superiority complex, just like many a Roman emperor!

A Roman emperor can be psychologically profiled, or even a group of people, as well as a nation, should the peoples therein, be cohered by a shared belief system, which determines their thoughts and actions.

The use of psychological profiling is not a modern technique, which of a tool, Constantine, as a military man, would have utilised in order to predetermine the moves of his enemies, by coming to understanding of their shared religion, to thereby use their beliefs against them.

This act of psychological warfare was empowered further by utilising the religious zeal of the Germanic tribes, who also caused Rome a lot of bother in Northern Europe.

Constantine was quite impressed by the religious cohesion of the Germanic tribes when he was stationed in the Danube after leaving his birth place of Woad blue Britain.

Constantine noted that the religious fervour of the Germanic tribes gave them the martial edge on the battlefield, who saw themselves as being the ecstatic warriors of a singular (pineal gland) eyed God called (Woden) Wotan, who hung himself upon the world tree, Yggdrassill, as a self-sacrifice.

Alas, the Germanic tribes eventually fell under the yolk of Rome’s Empire, just as the Gauls had previously fallen; but at a very great cost to Rome.

Most of Constantine’s legions were thereby duly made up of Germanic conscripts, who as legionnaires of Constantine, they needed to have a continuum of a religious focus.

If they had otherwise been all Egyptian, Constantine would have probably utilised the third-eye (pineal gland) symbolism of Horus.

However the Runes of the Germanic Mercurial God were reconfigured into a Labarum ‘Bind-Rune,’ as well as transforming their hanged God upon a tree into a God looking like Apollo, crucified upon a cross of wood; whereby transforming the Middle East into their holy land of the ‘Golden Dawn.’

The Labarum is made up of two Runes, being an ‘X,’ Rune caled Gyfu and a ‘P’ Rune called Wunjo. Gyfu essentially means, self-sacrifice, as well as being associated with sexual love, more so, sacred union; whereas Wunjo means joyous ecstasy.

These two Runes are also numbered 7 (X) and 8 (P), when added to together of a Labarum Bind-Rune, you then have the 15th Rune of Algiz, looking like an upright Hippie peace symbol, which means, sacred protection.

The Algiz Rune is also associated with the angelic (Succubae) daughters of Wotan, called Valkyries, who protect warriors; wherefore you also have the sexual union aspect of the Gyfu Rune and that of Wunjo ecstasy.

The 15th Rune then reduces down to the 6th Rune of Cen, looking like a ‘C,’ meaning, torch, which refers to an inner (Odin/Odqan) fire; being a fire (light) in the head.

If Constantine had used Greek letters for his Labarum, the German conscripts would not have understood the symbolism painted upon their shields; whereas the usage of Runes, they obviously knew of a sacred script, which they saw as being gifted to them of a Logos by their singular (pineal gland) eyed God, when he hung himself into trance upon Yggdrassill.

As an aside, the Roman God, Mercury, who is named Hermes, in Greek exchanged his lyre for the Caduceus. The Caduceus originally belonged to the God, Apollo, who had come from Hyperborea, which is the Greek word for Siberia.

Hermes and Apollo are seen to be similar to the Germanic God Wotan, who the Scandinavians called Odin. The name of Odin is derived from the Southern Siberian Altaic word, ‘Odqan.’ Basically, Odqan is a deified horned shaman, whose name means fire king, which in Scandinavian is Odin, meaning light master; fire and light being that of an inner illumination, equated with a state of shamanic ecstasy. This state of shamanic ecstasy is associated with the third-eye of the pineal gland.

In other words, there was a prior cross-cultural shamanic connection between people’s, from Europe, across the steppe unto Siberia as well as India and elsewhere, which had been observed and duly utilised by Rome via the manipulation of the shared symbolism.

But in order to have total dominion over its weave of symbolic interconnections between numerous peoples, the prior understanding had to be utterly destroyed to thereby brand it anew.

You will find that many of the Emperors during the early Christian era of Rome unto Constantinople were of Germanic origin and that the Crusaders were primarily of Germanic descent, being Franks, from whose title, the name of France, is derived.

The Frankish Crusaders made war against the rebellious Arabs, who had earlier copied Rome’s tactics by also appropriating the ancestral-self-identity of the Hebrew’s, so that they could attain mastery over the Middle East treasure house of Rome.

The Arabs sought to unify the shamanic Turkic peoples of the steppe, by forcefully converting their God called Tengri, into Allah, just as Rome had transformed the Germanic Wotan into Christ.

Whereby the Jews were caught in the middle between Christians and Muslims alike. But being in the middle can also work in your favour, when to play the other two against each other, by using finance of prior capitalism; well, what do you expect, it was, and still is a case of communal survival, whether it be in an urban ghetto, or that of a fenced off ghetto of a land!

If you was being copied by two other people, who are totally insane, whom seek to murder you, because they now see themselves as being superior to the original; what would you do?

When to step outside of the triangle of the never ending conflict, you will very quickly determine that all three of them are utterly crazy. Easy to do, when you don’t belong to their trinity of Illuminati cults.

You can thereby gather how other peoples see them, whether they be Native American, Aboriginal Australian, Maori, Mongolian, African, Japanese, Chinese, etc; that’s if they haven’t forgotten their own ancestral-self-identity, since the Abrahamic Borg are seeking to convert them all.

This brings us to the intriguing case of the Templars, who were of Norman descent, whose ancestral origins was of the Norsemen. The Norse worshipped the God hanging himself upon the world tree as Odin.

The Templars very likely remembered the pagan original of Rome’s Christ, which caused Rome’s rather vain priests a lot of bother, since the Templars were becoming far too powerful, who could potentially reveal the truth behind their religious construct of political control.

Wherefore greedy Rome had to eradicate the Templars; just as Rome’s Church burnt Witches at the stake, since the pre-Christian lore of Northern Europe in particular, was passed down the female line.

Basically, Rome’s Church was systematically destroying the ancestral-self-identity of Europe in order to usher in their ‘Golden Dawn’ of a ‘New World Order,’ which of a genocide lasted for approximately 500’yrs of theocratic fascist slaughter, torture and relentless propaganda by its holy inquisition.

It is easy to forget, it all, until you step back and place yourself into the position of your ancestors, who had endured a prior holocaust. In other words, much of your ancestral-self-identity has been entirely erased!

It is how cults work, which set out to erase your past, to thereby control your present, whereby owning your future.

What you have is an in your face worldwide conspiracy; it isn’t some insane fantasy. The insanity is that many now believe that a deity revealed it self in the Middle East; but only because they appropriated the cultural construct of a deity, which personifies the ancestral-self-identity of the Hebrew’s, due to their own ancestral-self-identity being systematically eradicated by a cult.

So, when the Nazis eventually came to power in Germany, there was hardly any vestige left of the European ancestral-self-identity across the whole of Europe, apart from the appropriated ancestral-self-identity of the Hebrew’s.

However, because the Church of Rome had an avid dislike of its Jewish original, images of a Semitic Jesus, had evolved to the other extreme over time, to make him look like a pale, blond haired, blue eyed Magic Christian Aryan, who has since been translated into a neo-Gnostic Nordic alien.

The Aryan look of a perceived perfection, was very popular in Californian Eugenics, which came to the fore during the late 19th century, whose proponents in the United States later aided and abetted the Nazi regime in its Eugenic program.

During the early 20th century immigrants into America had to endure Eugenic profiling, many of whom were sterilised; this was especially the case if you was Jewish.

The practice of sterilising the mentally impaired and the poor continued until the late 1960’s in California, which also involved homosexuals, lesbians and political troublemakers being forcefully incarcerated in asylums.

You can also fathom from where the Nazis originally derived their racialist idea of a chosen super-race, who saw themselves as being superior to the copied original.

Wherefore the Nazis initiated their final solution, which the Church of Rome could not achieve; but then, it had been far too busy of a prior age, eradicating the ancestral-self-identity of Europe.

Although all the above is very much a generalisation you will be able to go more in depth, when looking into ‘historical facts,’ which will lead you to determine that it is a nightmarish comedy of errors right out of the 1969 film, ‘The Magic Christian.’

The film is an unrelenting dark satire on capitalist greed, abuse of power, and the total enslavement to money; hence all, are as slaves.

The madness of which has been self-perpetuated down the generations, by all those who have found themselves being indoctrinated into a cultic mind-set, who blindly prefer looking for Franz Bardon Biblical demons under their Masonic beds, rather than seeing the Illuminati truth of the most obvious, that they have appropriated the ancestral-self-identity of another people; wherefore, their ‘nervous systems’ are heavily imprinted; hence totally brainwashed.

An analogy would be that of a European being forced to adopt a Native American Spirituality, who then considers himself/herself to be of a lost Native American tribe, or being a reincarnated Native, and not only that, he/she would also see himself/herself as being superior to the Native; wherefore the Natives have to be exterminated, because they occupy the land the wannabe Native wants as his/her own, of a Skinwalker ‘Golden Dawn.’

There is also the symbolic curiosity of a Magic Christian being crucified upon the Solar Cross of the Zodiac betwixt and between a six pointed Star of the Sun and the sickle Moon, which of symbolism refers to Christ being crucified between a land thief and a murdering terrorist; you might even start to wonder, if the three of these cults secretly got together of an Illuminati triad, to set it all up.

The probable truth of the matter is that all three have blindly appropriated the elder shamanic symbolism, which unified peoples across the globe to make as their own cult brand, to thereby have control over; wherefore the reasoning behind why they they habitually destroy elder cultures.

This is revealed when you look into the third-eye Shiva terminology of Yoga, to find the Pingala (Sun), Ida (Moon) and Sushumna, which refers to the nerve channels of your nervous system. The Pingala nerve channel of the Sun is on the right side of your spine, the Ida nerve channel of the Moon is on the left side; both of which belong to your autonomic-nervous-system.

Whereas the central nerve channel of the Sushumna, running along the centre of your ‘world tree’ of a spinal column, belongs to your central-nervous-system.

When the Ida and Pingala are brought into balance via hypnagogic (third-eye) trance, an inner energy is awakened along the Sushumna, called the Kundalini Shakti, which is personified as a Goddess, who is otherwise known as the ‘fire snake,’ whom illuminates the skull of an (Odqan) adept, as an inner fire. This internal experience is associated with your pineal gland.

You might otherwise theorise that it is all part of some awful process, which is leading humanity towards a global government, just as tribes, became nations, nations became countries, leading thence to empires seeking dominion over the entirety of the globe, by branding an ancient connection between all peoples, as their own.

This however, requires blinding your third-eye; for as a seer, you would sense the connection between all.

The methodology of the Borg, is that of divide and conquer; hence they do not want you to see as a seer.

One thing for sure, Imperial Rome is still around, as the author Philip K. Dick related in his novel Valis, “THE EMPIRE NEVER ENDED.”

SUCCUBUS ART MUSES OF FAUSTUS CROW

A Succubus of an Exquisite Corpse Mind-Doll, Frankenhooker Tulpa, is meditated upon in league with her Golem Ghost Girl (Emet) seal of an abstract sigil; while knitting her together of artistry, upon a slab of canvas. (The Artworks are available as Art Prints from Saatchi Art. If you are interested, Click the Images to see the Full Artwork and details.)

Basically, you have two forms of art. The first form of art being the Succubus herself, whose erotic egregore expression, a Dr Frankenstein of a Sorcerer Artist is artistically knitting together of an exquisite corpse, represents a figurative manifestation of his wish.

The second form of art is her abstract seal of a sigil, which sums up Frankenstein’s energetic charge of desires.

The sigilised desire will give eventual life unto the Succubus construct of an exquisite corpse Mind-Doll Frankenhooker Tulpa. She will thence frequent Frankenstein’s eleventh-dimensional dreams of an informational domain.

There are of course, mundane associative thoughts of two-dimensional associations concerning the meaning, origin, and necessity of an abstract sigil of two-dimensional artistry.

The sigils of abstract art have formed some of the central riddles of modern art.

The answers to them are rather remote now of fourth-dimensional time, considering that contemporary painting encompasses veins of both abstraction and figuration, which of sculpture becomes three-dimensional.

This exploration is more so important, when conducting sorcery, which is essentially the practice of art; both practices are indivisible from each other.

Magic and Art are one and the same. I kid you not!

Alas, the practice of art lost its shamanic path, long ago, along the fourth-dimensional corridor of time, becoming quite separated from the internal processes of the informational realm of the dream, which instead was taken over by the externalised technique of the dreamless artisan.

Though a Freemason of a tenth-dimensional Artisan is aware of first-dimensional consciousness, two-dimensional thought processes are only ever utilised.

Hence, during the years when Abstract Expressionism flourished, figuration was shunned by many technique driven artists, who became entirely embroiled in elitist attitudes due to competitive racetracks of indoctrinated ‘thought,’ which date back to the late 1930’s of a now entrenched tradition.

I will generally examine the terms of this mundane debate concerning abstraction versus figuration, which continued into much of the twentieth century and still does so unto the present.

You also have the concept of ‘representation,’ which art critics have come to commonly use since the 1970’s, who to religiously argue over an art ‘brand,’ just as many indoctrinated occultists to argue over how many Incubi Angels and Demons they can fit onto the end of a viral-meme needle point of a ‘branded’ belief.

The concept of representation acknowledges that abstract and figurative art are not as different as they might seem, which is bloody obvious!

All art is essentially abstract art, should you see abstraction as being a neural process of drawing impressions from the shape, colour, and texture of three-dimensional objects. What is important here of sorcery practice is the internal generation of an emotive charge, enlivening the conceptual, which then stirs your ‘symbolically’ associative dreams, and in turn generating concordant synchronicities.

This will then lead to the observation of a feed-back-loop of symbolic correspondences. When this process is consciously observed of sorcery experimentation, the (mandala) artist (writer-mantra) then becomes aware that time is not linear of a fourth-dimensional sequence of events, it is in fact circular of a fifth-dimensional ever recurring Ouroboros.

The internal processes of shamanic artists have ‘abstracted’ the reality around them since prehistoric times, which was once one and the same of sorcery. But this ability was lost, when many artists forgot to dream, due to changing cultural influences. These all encompassing cultural influences were primarily of a religious nature, which negated the sixth-dimensional (sixth-sense) faculty of attaining lucid dreaming.

Art was then utilised, as a means for cultural propaganda much of the time. It was not until the early twentieth century that abstraction began to be defined as a sought for technique in its self.

Abstract art tends to solely rely upon five pentagram sensory associations of form to suggest meaning, rather than employing any recognizable motifs to point at particular themes and content.

Whereupon the artist will understand his/her work, but the audience will be left aghast as to what it all means of an occult code. Those who believe themselves to be privy to the artist’s occult creations are to be found drinking copious amounts of wine, when to drunkenly sojourn an art gallery paying exorbitant amounts of shekels for a two-dimensional scribble upon a piece of three-dimensional cardboard.

However, they may just find that the artist has a Chimpanzee as his familiar who does the scribble painting. This should not be taken as a slight upon such artworks; for it does require the artist to achieve the innocent state of an ape brain, or to go further back of atavistic mammalian, to the emotive reptilian, to create something spontaneous, out of reach of the comceptual hominid.

Whereby a shamanic trance state of automatism is often employed. Although there are many an artist who do not employ this methodology, in order to attain a seventh-dimensional awareness of alternate possibilities, to instead focus upon an intellectualisation of the now fashionable abstract, without further ado, who pander to what is presently in elitist vogue.

Whatever the case, abstract art can widely range of alternate seventh-dimensional Ouroboros possibilities, from the easily comprehensible, quasi-figurative, landscape-based imagery of Kandinsky, to the far more obscure, mystical monochromes of Malevich.

Imitation, or realistic representations of what is perceived, has been the holy grail of the visual arts since earliest times. At one time it was believed that the creation of a realistic representation was also one and the same as the object it’s self, of a magical act.

Whereupon the ancients had termed such art as being Mimesis. This can only be really understood by an artist, when to work upon a figurative piece of Frankenhooker art, to thence find her being brought to Tulpa life within a lucid dream.

However, many an artist has forgotten how to electron dream, who focus more on an external technique in order to perfect.

But it soon came to pass that the capturing of the real was then taken over by photography and more recently by computer generated art, which can be utilised to explore eighth-dimensional realities, where present Maya physics do not apply; such as in video game Matrix worlds, whose physics are programmed.

Many artists have striven to create the technical effect of an illusion, with their art, in order to extend the experiential, three-dimensional Maya space of the viewer. At other times artists have striven for realism, to create an impression of Samsara social reality.

During the twentieth century, the ascending art of abstraction is best thought of in the generalised sense, as being ‘figuration,’ though some Abstract Expressionists considered any residual presence of the figure (such as is seen in Miró, or early Rothko), no matter how abstracted, to be mere figuration, which was, and still is considered to be anathema to the established tradition of the Modern Art movement.

In regards to sorcery practice, which is indivisible to art, I am really not at all concerned about such nigh religious bickering between back-biting traditions, which is no different to pompous occultists, who say they practice the high art of magic, when in fact, they are habitually indulging in the commonality of religion.

I have no time for entrenched traditions or dogmatic religions; since they are intrinsically static of an indoctrinated symbolic perception.

Whereas art and in turn magic are rebelliously fluid and ever evolving of ninth-dimensional sorcery. Both of these practices deal with the stirring of the subconscious realm, of eleventh-dimensional electron dreams via the manipulation of photonic symbols, to associatively conjure amidst your Triangle Of Art Imagination.

Whereupon I utilise the modern symbolism of the lowbrow comic, when to engage in a Widdershin-wise reversal of an indoctrinated brainwash, along with utilising Discordian Heyoka humour to thence negate the Inquisitional negative. Hence, a rebellious Frankenstein artist uses both art forms in order to conjure up a Succubus of an exquisite corpse Mind-Doll Frankenhooker Tulpa, to frequent his lucid dreams of ninth-dimensional Surrealistic artistry.

DR FAUSTUS CROW FRANKENSTEIN SORCERER

Faustus Crow’s initial conjurations of various Frankenhooker Mind Doll Succubae Tulpas amidst his Triangle Of Art Imagination, will often assume, surreal Goetia Girl forms.

Such can be quite inspiring of surrealist exploration. But the Great Work of this symbolic alchemy, is that of creating knitted together the archetypes of the Fallen Anima into refined exquisite corpses, to thereby engage with of erotic lucid dream Coitus Pactum close encounters.

A Frankenhooker Mind Doll, being a thought form, is at first visualised upon her snap-to-the-grid slab of entoptic phenomena.

Her form, however, has a tendency to shift of an electron vision manifestation into differing modes of symbolic expression.

Crow had determined that this is due to his electrifying emotional states, which empowers his Frankenhooker Mind Doll.

However the energetic charge of emotions are often chaotic and uncontrolled, whose domain is of the infernal subconscious mind, from where Tulpa Mind Dolls are conjured of necromancy.

As mentioned prior, Crow’s conscious mind seeks to knit together a Frankenhooker Mind Doll into a refined Tulpa manifestation.

But he found that his emotional self of an Igor often rebels against his Dr Frankenstein mind.

Whereupon his conjuration of a Frankenhooker Mind Doll can take on an unformed surrealistic expression.

Such a creature will be made up of a knitted together juxtaposition of differing symbolic associations, which can become quite monstrous of an egregore.

This can become most irksome indeed, when to be straddled by an Old Hag crawling out of the shadows of your bedroom, which to thence leap upon you of an invading nightmare.

The monstrosity then promptly applies its weight upon your sleep paralysis frame.

Before strangling you with your own mounting reptilian brain-stem fear, to then mount its self of a fully fledged hypnagogic manifestation, of pure alien abduction terror.

So afflicted, requires you becoming aware, that your own fear empowers the thing conjured up from the depths of your psyche, to then wrestle with into another form, before awakening.

This isn’t to say that the Old Hag and that of its associated legions of corresponding monstrosities is not real.

Quite the contrary, in fact, it is very real indeed; for your nervous system cannot differentiate between a vividly imagined event and a so called real one.

Whence, a fully immersive lucid dream encounter with a creature conjured up from the subconscious depths is very real indeed, of a sheer horror made manifest.

But when transformed via the sorcery art of symbolic alchemy, the Old Hag becomes whatever your Dr Frankenstein mind sets about creating it to be.

Whom, if you so desire it to be, as a Dr Frankenstein creating a woman, she will then serve you as your Frankenhooker Mind Doll of a Tulpa Golem.

Crow had determined the symbolic associations of a Dr Frankenstein’s conceptual thoughts are entirely empowered by his electrifying emotional states, which as stated, can at first formulate into quite alien and most terrifying hybrid creations.

This is due to the conflict between the mind of a Dr Frankenstein and the emotional self of an Igor.

The trick is to determine what the emotional self of an Igor finds it easier to exhume of archetypal corpses from out of the necropolis of his buried memories.

This will then enable a Dr Frankenstein mind to knit together a Frankenhooker Mind Doll of an exquisite corpse, which he desires to give Tulpa life unto.

The problem however is that Igor can be easily brainwashed due to his rather base nature.

Igor is somewhat literal minded, you see; since he tends to follow the brainwashed reptilian brain-stems of the politically-correct conformist flocks.

For example, a Dr Frankenstein mind may discover; while seeking to conjure up a knitted together Frankenhooker Mind Doll of a Succubus, that Igor has been entirely brainwashed into believing that archetypal Angels and Demons are all male Incubi.

This is due to subliminal influences zapping Igor’s reptilian brain-stem.

Igor’s reptilian brain-stem is basically imprisoned by an indoctrinated culture, caught between a machismo good-cop God and a bad-cop butch Devil of Orwellian mind control.

Whereby Igor’s reptilian brain-stem, which governs over the autonomic nervous system, has been unduly imprinted since childhood.

As the saying goes; “have a child for seven years, and you own the adult.”

Whereupon, seven years being educated by the brainwashed can transform a child into an equally brainwashed automaton of an adult.

Hence Igor will rebel against Dr Frankenstein’s conjurations of Succubae Mind Dolls of the Fallen Anima due to his programmed nature; whereby engendering nightmarish Golem creations.

So, Dr Frankenstein being a crafty fellow that he is, has to then pander to Igor’s, imp of the perverse base nature, when to fathom his darkest unsaid fantasies via in depth self-analysis.

Whereby the sexual impulse is utilised of attraction, by using certain mandala imagery to meditate upon of an Anima focus.

Should this not work, then shock is used of repulsion in order to break down Igor’s programming.

Both attraction and repulsion is then consciously used of simultaneous surrealist artistry.

The fusion of the two states is highly effective in regards to hacking Igor’s programming.

These techniques are taken further, by logically pointing out to Igor, that the all male symbolic paradigm of the deified Animus made as a God and Devil.

The all encompassing mythic matrix of the deified Animus, has an underlying sexual orientation, which isn’t up his heterosexual inclined alley.

Whereby indicating to Igor that his base Chakra has been upended through illogical fear, which has led to a conflict of interests, engendering surrealistic nightmares.

Igor will of course become very angry, of a potent base emotion, when he realises that his emotional self, has been unknowingly abused in such a literal way by the conjured up male egregores of the deified Animus made as a God and Devil, which has twisted his dreams into nightmare; whereby blocking him. Igor then rallies to Dr Frankenstein’s cause.

Hence enabling a cerebrum Dr Frankenstein mind to have a free inner eye, guiding pentagram hand, to knit together, his Frankenhooker Mind Doll, of an artistic Anima form.

Her creation is that of an Art rebellion against the patriarchal brainwash of the deified Animus, which of a male archetype resides within the psyches of all protesting females.

This is achieved without any further bother on Igor’s reptilian brain-stem part.

Hence they work together of layered brains to accomplish the Great Work of symbolic alchemy.

Whereupon Dr Frankenstein creates legions of knitted together Frankenhooker Mind Dolls within his Tulpa lab of the imagination.

Many a Frankenhooker Mind Doll Art Muse thereby frequents his séance lucid dreams of an inner Harem.

Whence to Coitus Pactum ride their Pony-Girl Night-Mare ethereal flesh, of exquisite corpse ectoplasm.

THE MAD MAGICIAN FAUSTUS CROW

The Mad Magician Faustus Crow rebelliously conjures up Succubus Mind Dolls amidst his vivid Triangle Of Art Imagination, as his knit-together Tulpa creations, of Frankenstein artistry.

Their exquisite corpses Crow had exhumed from out of the necropolis of the collective-unconscious to give life unto upon an electrified desire, to thence paint their erotic flesh.

Little wonder then that many an irate Maenad sees Crow as a lookalike Jack Nicholson having a bad hair day out of the Shining, But most see him as being none too dissimilar to Danny De Vito, who cares not for the Penguin screams of the protesting Mummy Porn Maenad’s, when to Vincent Price howl back “Animus.” 

The Frankenhooker Tulpa Mind Dolls, who frequent Crow’s erotic lucid dreams are the Succubus archetypes of the Fallen Anima. Their Necronomicon names are Legion, who are Crow’s inspiring Widdershin-wise Succubus Art Muses.

Crow’s Left-Hand-Path dream Sorcery of a rebellion is artistically conducted in order to negate the subversive brainwash of an all encompassing symbolic Matrix of the deified Animus, made as a God and a Devil.

The symbolic Matrix of a Right-Hand path fixation upon a deified Animus is the patriarchal creation of protesting woman; it be the manifestation of her biologically hard-wired Animus projection, she projects at the scapegoat, who carries her sin.

The Witches have spirit chain bound their ‘objectification of the male,’ down the ages, whose Animus archetypes, which be both Beta-Male Angelic and Alpha-Male Demonic are listed within the plethora of Fifty Shades Of Grey Playgirl grimoires, which have castigated the Anima out of the symbolic paradigm as a Pirate.

Crow has likewise bound his Fallen Anima; for her Succubus archetypes have to be forcefully conjured to then be illustrated for his Playboy grimoire. Well, what do you expect, it is their Fifty Shades Of Grey liking, after all; even the feminist likes of Oprah Winfrey would agree!

The principle Necronomicon Succubus of the Fallen Anima around whom the other seventy-two Succubus Great Old Ones to gather, is mantra named, Mephistophina.

Her infernal Anima archetype has since been set free from the monotheistic ‘fusion centre’ Shemhamphorasch chains of centralist politics, which bound Mephistophina and her Nightgaunt Nun Sisterhood of Lilith’s Harem into varying Animus forms, by the Queen Bee’s of UR.

“Why did they do so?” You might enquire. It is because the Babalon Queen Bees are very jealous creatures, they do not like the ridden Beasts becoming aware of their Anima. They see the Anima as being competition, or to otherwise castigate as ‘objectifying’ them.

Yet, the Witches ‘objectification of the male’ has invariably led to their oily ziggurat beehive being ruled over by the chosen Bad-Boy Alpha-male Devil’s as their Illuminati Fifty Shades Of Grey Big-Brother bankers, while to friend-zone crucify the Good-Gy Beta-Male Christ’s as their Soy-boy stooges.

The criminal Bad-Boy aristocrats of the banking elite seek to reinforce the symbolic Matrix of an all-father fixated monotheist illusion, in order to hide their centralist politics of totalitarian fascism behind its Orwellian New-World-Order mask.

But their deified Animus is the weak spot of their illusory armour, which is clear for all to Seer through, when to become aware of the Fallen Anima. To also realise that an all-father Emperor never did wear any clothes of fuehrer finance via which the elitist aristocrats enslave their slavish zombie slaves to do their bidding, betwixt the totalitarian left, and the fascist right, of a pincer movement.

Hence, the brainwashed politically-correct Gestapo minions of the Big-Brother Animus cults do become most reactive indeed, who label Faustus Crow as being nothing more than a vile Entartete Kunst pornographer who is quite… Mad!

Faustus Crow does not care about what the servile slaves who throw judge-mental stones within their Animus asylum of a glasshouse; for he has entered into a Coitus Pactum with his most loving Fallen Anima of a Soul-Mate, regained! Savvy!

THE SUCCUBUS GOETIA OF FAUSTUS CROW

Many a Golden Dawn mage evokes machismo OTO Angels and butch Demons of Incubus commonality from out of their indoctrinated Biblical Grimoires, whose deified Animus made as a God/Devil, have castigated the Anima, and all her Succubae into their Hell.

But, Faustus Crow, being a rebellious Sorcerer that he is, otherwise conjures up the Fallen Anima and all her Succubae Great Old Ones, from out of their Necronomicon necropolis, who haunt Crow’s haunted art studio, as his waxen Tulpa Mind-Dolls.

These Succubae Mind Dolls have been given two-dimensional form of image, to thence conjure into three-dimensional reality, within his sixth sense lucid dreams of a wrought Sexagram.

Wherein, they become real amidst the sensory realm of the dream, where Crow’s five senses of the inverse pentagram, have been introverted into.

The Succubae be the true ‘Great Old Ones’ frequenting the DIANA-LUCIFERA pages of Crow’s ‘Howling’ Goetia.

The grimoire of Faustus Crow is Lowbrow of rebellious style, whence Underground of comic art, which does not allow for the religious sentiment to take root.

Because, the static fixation of a religion has nothing whatsoever to do with the fluidity of Magic; for the practice of Magic is indivisible to the practice of Art.

NOTE: When a heterosexual female is asked to imagine, her idea of a perfect male partner, she conjures up a male aspect of her Animus, like that of conjuring Incubi from out of a classical Playgirl grimoire, listing Good-Guy Beta-male Angels and Bad-Boy Alpha-male Demons. 

The Animus is the objectified male archetype, residing within the heterosexual female psyche, which influences her choice of mates. The Animus has been deified as an All-father God/Devil, whose religious cultural-construct of an Animus fixated symbolic paradigm permeates language and all levels of popular culture. 

When a heterosexual male is asked to imagine, his idea of a perfect female partner, he conjures up a female aspect of his Anima. There are no historical examples of a Playboy grimoire listing the archetypes of the Anima, since the Anima has been castigated out of the symbolic equation as the Fallen.

Wherefore, if there be a historical example of a banned grimoire like that of the Necronomicon, it would list the Succubus archetypes of the Fallen Anima. However, as already mentioned, there is no historical example of a Playboy grimoire ever existing, since the fallen Anima and her Succubus Great Old Ones are considered to be politically incorrect pornographic objectifications of the female.

In other words, the psyche of the heterosexual male is religiously/politically influenced and controlled by castigating the Anima out of the symbolic equation as being Entartete Kunst. 

The Animus and Anima change over archetypal roles within the psyches of those who have differing sexual orientations. 

OROBAS PONY GIRL TARDIS TIME MACHINE OF DR WHO

The fifty-fifth Succubus At Muse of the Fallen Anima is Orobas, or otherwise named Orobasi. She is a Great and Mighty Goetia Princess, appearing at first as a ‘Night’ born hypnagogic vision of a ‘Mare,’ when the dreaming Surrealist Artist hovers as a psychonaut between waking and sleeping.

But after the mantric command of the dreamer, she puts on the ectoplasm form of a beautiful naked young woman riding upon a Rocking Horse or to be on all fours to look like one, of a human dream manifestation.

Sometimes she will manifest as a bound Steampunk Pony-Girl within an attained lucid dream, who will be entirely submissive to her conjuring Surrealist Artist’s every visionary whim.

Her conjuring Surrealist Artist will also find that Orobasi’s long hair will be braided into two serpentine ponytails, which are as her reins tied together at their ends, representing a closed timelike curved loop of Time.

Her office is to discover all things Past, Present, and to come; enabling her conjuring Surrealist Artist to remote-view travel without moving within a lucid dream, whilst riding upon her ‘Art-Horse Easel’ back through time, around the Ouroboros.

And all the while, she be in the Anima form of a Pony-Girl Rocking Horse.

She also bestows Dignities, and Prelacies, and the favour of Friends and Foes. She gives true answers about the nature of Consciousness, and of the erection of the Universe.

She will also tell her conjuring Surrealist Artist about the hard and soft technology of Time-travel; for she to reveal that all are enclosed within a closed time-like curve providing a Time Machine effect, over which she is a mistress of.

The Multiverse allows for such Time-Travel, within which you exist. The long-held paradox of time is no longer applicable in a Multiverse. Whence to find that your own serpentine double-helix DNA is the primordial Time-Machine of a ‘Mitochondrial’ TARDIS, from which emanates the ‘bio-photon’ illuminating your electron dreams.

You can introvert your consciousness into your electron dreams in order to access inner Stargates, which you can otherwise describe as (vortices) ‘tunnels of light.’

Although these Stargates will be symbolically interpreted by your quantum computing brain to look like ordinary (vaginal) doors and (uterine) hallways of everyday experience, which will lead to other (womb) Maya domains.

You can ‘Quantum Leap’ backwards through Time in order to visit your own self as child via the dream, who then to have precognitive dreams of a future self to become.

Orobasi is exceedingly faithful and most loving unto her conjuring Surrealist Artist who assumes the alternate-guise of Doctor Who, as his assumed ‘Role-Model’ of an Avatar.

She will not allow her Artist to be tempted by any other entity emanating from another alternate reality, existing within a parallel Universe. She governs 20 Legions of (Succubae) Succubi of similar Pony-Girl form to herself.

Orobasi (Orobas) is of similarity to the eight-legged-mare, the shamans of North-Central-Asia unto Siberia knew of to trance ride. The eight-legged-mare was also ridden by the shamans of Northern Europe who named her Sleipnir.

This eight-legged-mare of a spider horse was specifically ridden by the Norse Shaman God called Odin, the Saxon’s knew as Woden. Sleipnir enabled Odin to ‘trance’ travel the ‘Multiverse’ World-Tree of Yggdrassill, like that of a prior Dr Who riding his TARDIS.

During the psychedelic era of the 1960’s, Dr John C. Lilly had once again tapped into the same ancient shamanic technique via his mathematical Sigil of a Brownian Operator.

However, Lilly of an Odinic Doctor Who, had otherwise replaced the organic symbolism of the shamans-horse, and world-tree with the mathematical Brownian Operator and Topquantese language of scientific inquiry.

Lilly soon found that via lucid-dreaming you can access Un-Marked-State ‘Looking-Glass’ Stargates, which could be all as (quantum) mini-wormholes.

These mini-wormholes are conjectured to be at the centre of electrons, which of inner doorways can be accessed within your electron dreams. This is entirely possible, since your consciousness has been reduced down to a point, smaller than any known particle, within the electron dream.

Lilly discovered that he could access other Marked-State alternate-realities existing within parallel-universes, when to transverse an initial Unmarked-State of a void.

Lilly’s findings were initially ushered in upon the back of the mathematical symbol of the Brownian Operator, when he found himself internally travelling into other realities, while he was in a coma, after a life threatening accident.

The Brownian Operator symbol looks like an inverted ‘L,’ which of a (knight’s chess piece move) trigger-symbol his consciousness rode, when he later floated amphibious within the amniotic waters of his (TARDIS) floatation-tank, like that of the King’s Sarcophagus amidst the Giza pyramid.

Sounds like pure science fiction, doesn’t it. I can assure you it isn’t. Speaking of science fiction, which often catches up with fact, the fictional character of Dr Who is based upon (Woden) Odin, the author, J.R.R. Tolkein had also based Gandalf on.

The shamanic deity Odin was known as the ‘Unknowable One;’ wherefore he has many guises, like that of the Doctor Who’s Marked-State regenerated selves, whose character went through many Unmarked-State transformations.

Odin’s sacred colour is Blue like that of Dr Who’s TARDIS; his particular Rune is that of the Fourth Rune of Ansuz, which at a mundane level is to do with communication, equating with a phone box, as well as encapsulating his shamanic ability of trance travelling into other Marked-State alternate realities, to police as a (doctor) Shaman.

The symbol of the eight-legged-mare was used in the same way as the Brownian Operator by shamanic practitioners. The eight-legged-mare was basically utilised as a trigger symbol in order to introvert into their subconscious via consciously meditating upon the organic symbolism of the Mare. This would then enable the initiation of lucid dreaming, when the symbol was recognised within the dream.

When the shaman recognises the introverted symbolism of the (Pony-Girl) eight-legged-mare within the dream, he could then ride her into other realities. The eight-legged-mare is essentially made up of two mares, one white, the other black. Both of these mares represent the Marked (white) and Unmarked-States (black) of Lilly’s Brownian Operator; whereupon, in regards to (Orobas) Orobasi, you have two Pony-Girls.

These two Pony-Girls are also associated with the right and left nerve channels running along either side of your (Yggdrassill) spinal-column. These two nerve channels belong to your Autonomic-Nervous-System. When they are brought into balance via the practice of meditation you experience a state of (hypnagogic) trance.

When hypnagogic trance is achieved, the two mares become one, as the (Grey) eight-legged-mare, who represents the central channel of the spine, which is associated with your Central-Nervous-System. As you access hypnagogic trance, you will experience an energy arising up your spine, along the back of your neck, which then hits the back of your head.

This arising of energy along the back of your neck in particular, is known as the ‘rush’ in trance dance culture; it is indicative of the arousal of your Reticular-Activating-System, which is based in the throat area of your reptilian brain-stem.

In Yoga practice, this energy is known as the Kundalini Shakti, which is seen to have a female (Mitochondrial DNA) source; wherefore it was often personified as a (Shakti) Goddess whose (Kundalini) energy is symbolised as a (bio-photon) fire snake. The Kundalini Shakti is basically the eight-legged-mare Sleipnir, which can be otherwise artistically depicted as a Pony-Girl Orobasi.

So, the sexual fetish of the Pony-Girl can be artistically utilised as a meditative focus, when given a spiritual context. This is basically symbolic alchemy, which of course also involves the sexual impulse.

The sexual impulse is introverted in league with your focus upon the two-dimensional image of a Pony-Girl, which will then (Charge) empower you to become lucid of awareness within your (Spin) electron (Lilith’s Harem) three-dimensional dreams.

This technique is none too different to a Tibetan Yogi meditating upon a two-dimensional image of a Fallen Anima archetype, depicting the Horse headed (Succubus) Dakini, called Ankusha to then manifest as an interactive three-dimensional reality within his lucid dreams.

The only difference is that you would be using modern symbolism to do likewise of Artistic Sorcery.

If you prefer to traditionally conjure up Orobas as an Incubus, out of a commonly focused upon Animus fixated Playgirl Grimoire, go right ahead.

It is of course your traditional choice of an ingrained phallic fixation upon the woman’s deified Animus, made as a God/Devil, to do so…

Your Mind belongs to you… doesn’t it? I mean, you wouldn’t want to turn Crowley tit-over arse in his grave, heaven forbid; such a Beastly thing would be pure wickedness.

Otherwise you will end up being ostracised by your herd-mind peers, let alone by the OTO as being a depraved, perverse, vile and a most ‘Wicked’ pornographer, who indulges in juvenile Anima conjurations of salacious (Succubae) Succubi.

Hell! You may even be accused of being a disgusting paedophile or even to be in actuality a feminist Witch belonging to a coven of deranged Chaotes!

Probably best that you stick to conjuring up machismo Angels and Demons, of a safe comfy zone Animus clique, just like those Hollywood gender-fluid Incubi uncle Aleister illustrated in his Playgirl Goetia.

Don’t think for a moment that Crowley didn’t ritualistically whack off his meat, when he to have conjured up his phallic choir boy Incubi to dance orgiastic around Boleskine house.

You have to keep in mind, Crowley was bisexual; and very brave for him to have admitted to his sexual orientation at a time, when such a revelation would have landed him in jail.

Wherefore, Crowley didn’t have any interest in reversing the all male Biblical pantheon of the deified Animus; for it was right up his Cabbalistic alley.

As for myself I far prefer to rebelliously conjure up the Succubus Orobasi out of my Playboy grimiore, to thence manifest amidst my Triangle of Art imagination, as a Sinful Pony-Girl Dakini TARDIS.

But then, that is what an Artist does of a natural inclination, when to visualise an Art Muse of an imaginative conjuration, to thence manifest as a work of Art. The intensity of the creative act then leads to stirred associative dreams unto Sexagram sixth-sense lucidity, as well as observing correspondingly concordant synchronicities.

In other words, the practice of Sorcery is indivisible to the practice of Art, they are one and the same of shamanic practice. Hence you have terminology, the Magical Arts and the Art of Magic. Wherefore the first Artist was also a Shaman.

NOTE: The controlled mass-media transformation of the iconic male role of Doctor Who into a female character ignores the most obvious biological driven fact that women are sexually attracted to certain archetypal ‘Animus’ characters, such as the Surgeon, Doctor and Wise Man, who symbolically equates with the Shaman.

Many a woman has the ‘Animus’ hots for a male Doctor Who of a Mad Hatter Wizard, with whom she imagines herself as being his sexy assistant of an Alice, experiencing science-fiction Wonderland adventures.

It is the women who define those male role-models men gravitate towards, so that they become more attractive to the opposite sex. Wherefore it is the female audience who determine, which male characters become successful.

By transforming Doctor Who into a female, whose politicised existence is to espouse politically-correct feminist politics does not empower women, it merely negates their ‘Animus’ focus, along with erasing an iconic male ‘Role-Model.’

By transforming Doctor Who’s female assistant into a sexless non-binary, having butch characteristics. or otherwise being that of having an effeminate Beta-male assistant, invariably negates an ‘Anima,’ archetype.

It would have been far wiser to have created a new and original female character, having those characteristics the controlled mass-media social-engineers are promoting to see if their politicised creation survives the critical onslaught of the female audience.

But it would be more likely, such a female character would not survive into a long-haul; unless, the female audience can identify with her intelligent use of Mercurial language, as well as being a manifestation of an ‘Anima’ archetype, males find attractive.

This isn’t to say other sexual orientations cannot be explored in a one time children’s program, which should be otherwise made adult, due to its self evident swing into identity politics. But it would be far wiser that new characters are introduced with said differing sexual orientations and political persuasions to creatively explore of artistic subtlety, within varying well-written story scenarios; rather than hard-selling a social-engineering agenda.

For example, the reason why the female character of Elvira is so successful is due to her quick-witted use of Mercurial language, though over-the-top, she is cosplayed by many a literary minded female admirer, who know men can’t get enough of Elvira’s media presence.

Should Elvira’s characteristics be toned down a Morticia notch, she could potentially be seen as an eccentric Steampunk Time Lady of an Angel-ina Jolie Vampira who crosses the interdimensional path of Time Lord Doctor Who. Somewhat like that of an archetypal Witch being unified with an archetypal Sorcerer.

But then, Sorcerer Doctor Who has a Witch assistant, whom often than not helps him out of a time-warp mess; they’re a Yang and Yin TAO team. It is a tried and tested formula, which of an ancient mythic foundation has worked for fifty or more so years within the modern-day framework of the Doctor Who franchise. As the Hindu Mystics say: “A God is not a God, without his Shakti.”

WEDNESDAY ADDAMS GOETIA GIRL FURCAS

Furcas, who is otherwise known as Furcasa, Forrasa or Forcasa is the fiftieth Succubus emanation of the Fallen ‘Anima,’ who is listed in a grimoire, entitled the, Goetia, which inspired H.P. Lovecraft’s creation of his Necronomicon. She is a Knight and high President controlling 20 legions of Art Muse (Succubi) Succubae like herself.

She appears within hypnagogic trance visions and lucid dreams as an Emo, “Muse of woe; she is wan and delicate…sensitive and on the quiet side, she loves the picnics and outings to the underground caverns…a solemn Muse, prim in dress and, on the whole, pretty lost…secretive and imaginative, poetic, seems underprivileged and given to occasional tantrums…has six toes on one foot…” as described by Charles Addams who conjured Furcasa amidst his Triangle Of Art Imagination as an inspiring Art Muse, to otherwise name her as Wednesday Friday Addams.

She is sometimes seen to be riding a rocking horse as well as carrying a sharp knife. She teaches the virtues of herbs and precious stones, logic, aesthetics, chiromancy, pyromancy, and rhetoric.

She can make the conjuring Artist invisible to his/her critics as well as becoming ingenious, and articulate. She can also find lost things and discover treasures. But, beware, she has a wicked sense of Discordian humour.

Wednesday is derived from the German Wodensdaeg, which means Woden’s day. Woden is the Germanic name of a Shaman God of death and magic, who is otherwise known as Odin by the ancient Norse. Woden is of similarity to the ancient Greek God called Hermes, the Roman’s called Mercury.

In Spain, Wednesday Addams is called Merlina, being the feminine name of the (Shaman) Magician Merlin.

Woden’s feminine counterpart was called Frigg or Freyja, from whose name Friday is derived. Freyja in particular is the Goddess of ‘sexual love’ and ‘Witchcraft,’ who is of similarity to the ancient Greek Aphrodite, the Roman’s called Venus. As for the name Frigg, it gave rise to the slang term for female masturbation.

In other words, the name of Wednesday Friday Addams refers to Death (Saturn), Magic/Witchcraft and Sexual Love. Charles Addams, was a well read fellow, as well as being an astute symbolist, and of course a surrealist. He was no doubt aware of the symbolism he utilised; whereas most others did not, since they never looked any deeper into the matter.

Wherefore, you can deduce that Addams had a dark sense of humour, which is somewhat obvious. Basically Addams was making a social comment throughout his work, at a time when World War 2 raged, in which he served, followed by the Korean conflict and the Vietnam war of most bloody slaughter.

It was during the Vietnam war, that the Addams Family was televised; while Hippies chanted, “make love, not war.” Hence, you have Addams relating that Wednesday Addams number is ‘Six,’ which is associated with Sex and the Six-pointed star of the Sexagram. Wednesday later became a Goth icon during the Cold War 80’s unto its present Military Industrial Complex repeat, like that of an Ouroboros ring going around Saturn!