Archive for multiverse

HELLRAISER SUCCUBUS CUBE

Posted in Chaos Magic, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 15, 2014 by FAUSTUS CROW

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When Swedish researchers at Uppsala University published a theory that there is a cube at the centre of the Earth, nobody took them at all seriously.

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But then their theory evoked visions of a Rubik’s cube Lemarchand’s box out of Hellraiser, or that of Dr Who’s TARDIS in lock-down.

Hell, they could of just as well been waxing lyrical, to hypothesise about the undefined shape of the Sampo out of Finnish mythology, as far as the sceptics were concerned.

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According to Giorgio de Santillana, professor of the history of science at MIT, and student of mythology, the Sampo and the shamanic world pillar of an axis-mundi, to which is tethered the eight-legged-mare of the shaman, are referring to the precession of the equinox.

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In Hamlet’s Mill, co-authored with Hertha von Dechend, the authors find that the Sampo or precession process was believed to grind out different world ages, from the dark age to golden age and back again over the long precession cycle of time, like some kind of Brownian Operator drum beat time machine.

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Hence you have the precession numbers of 9, 72, 144, etc, recurring in various myths around the crystalline globe of the Earth, of which Plato to have related is dodecahedron of form.

It just so happens some present cosmologists see the universe as being likewise of dodecahedron form; perhaps it has a Lemarchand’s cube at its Hellraiser centre, which is generating an electromagnetic field of a toroidal sphere?

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Sounds absolutely crazy doesn’t it, just like having a cube at the centre of the Earth. However, your thoughts could be made of the distributed kind of electromagnetic field, permeating space, which of an analogy carries a broadcast signal to a TV, you can equate with your brain.

Professor Johnjoe McFadden from the School of Biomedical and Life Sciences at the University of Surrey in the UK believes our conscious mind could be an electromagnetic field. McFadden to have related: “The theory solves many previously intractable problems of consciousness and could have profound implications for our concepts of mind, free will, spirituality, the design of artificial intelligence, and even life and death.”

If your consciousness is indeed an electromagnetic field, once you have figured out the Lemarchand puzzle box it might just allow ingress into alternate realities existing within parallel universes next door, or that of affecting how others perceive reality. So, If there is anything to these ‘out of the box theories,’ you can be damn sure that the likes of DARPA are looking into such possibilities big time, in order to construct a time machine.

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If you allow your imagination to let rip even further you could imagine the Sampo to look like a hypercube of a tesseract TARDIS, whose eight cubical cells could be symbolically equated with an eight-legged-mare to call Sleipnir, which was trance ridden by the Norse shamanic deity named Odin, as his pony-girl Succubus, of mythic science fiction symbol crunching.

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Suffice to say the Odin research of Uppsala University, was seen by many to be just imaginative science fiction conjecture; yet it had been previously published in Nature and Science. This had come after the initial publishing of their findings back in 23 Skidoo 2003 in which they wrote strong theoretical proof that the Earth’s core assumes the “body” (as they called it), whose structure, despite its high degree of symmetry assumes a surprisingly high level of elastic anisotropy.

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Even though the researchers work had been published in the esteemed scientific journals of Nature and Science they still had an underworld struggle. Many among the scientific community decried them as being insane Cenobites stepping out of another Arkham asylum Lament configuration of an alternate world, whose hellish intent is to shred away long held beliefs that the inner core of the earth is a sphere.

These sceptics rallied forth to rage of a crucifying cry, “the core is an untouchable sphere, consisting of a solid mass with a radius of about 1,200 km, which is mainly made up of iron.”

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However, there are seismic observations, which have revealed a number of very strange things about the Earth’s core. For example, elastic waves pass more rapidly through the Sampo core in a direction, which are parallel to the Earth’s world-column axis of rotation than in those directions parallel to the equator. This phenomenon has not been previously explained. At the hellishly high temperatures, which are at the centre of our planet, they should be passing at the same speed regardless of their direction. So this brings us back to the Odin scientists from Uppsala University who have presented a Sleipnir cube explanation for this Lemarchand’s puzzle box fact.

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The researchers had to of course prove what they were claiming. It appears that they managed to present such evidence, which supports their way of viewing Earth’s internal core as a centred cubic crystal structure at high temperatures. This idea contradicts many other long held theories. But it has both experimental and theoretical support. To support it, the researchers presented simulations of how seismic waves are reproduced in iron under similar conditions to those, which are recorded deep under the Earth’s crust. The result was a difference of about twelve percent depending on their direction, which could be a good enough indication that their theory is more than just a Hellraiser tale.

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“We found that the body-centred cubic structure of iron is the only structure that could correspond to the experimental observations,” says Börje Johansson, professor of condensed-matter theory at Odin’s Uppsala University of the sacred cube.

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Their Sampo cube findings may be of significance for our understanding of the cooling down of the earth, and of the stability of the Earth’s magnetic field. The thermic balance of which is dependent upon the amount of heat stored in Earth’s ‘Hela’ core. This heat is dependent on the crystal structure of the iron in the inner core. The structure would then assume the form of a Sleipnir cube with atoms in each corner of its legs and a further atom in the Lemarchand middle of this cube. It’s orientation is such that allows its great diagonal to be directed along the Earth’s axis of Sampo rotation, whereby making it possible for the iron to generate sound propagations, like the galloping of night-mares with their racing velocities observed.

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“This study opens new perspectives for our understanding of the Earth’s past, present, and future,” says Natalia Skorodumova, a researcher at the Department of Physics and Materials Science. Perhaps the Lemarchand’s cube at the Earth’s Hellraiser core could be of similarity to a hypercube?

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As an associative aside of Hellraiser sorts, Lemarchand hypercubes could be used for the building blocks of future nanocomputers, whose devices of two, three, four, and five dimensions are made of such tiny elements that they are dominated not by forces, that we’re familiar with every day, but by TARDIS quantum properties. As Samuel Lee and Loyd Hook from the University of Oklahoma explained, “microelectronic devices are continually getting smaller and faster, in accordance with Moore’s Law. Already, integrated circuits and transistors are reaching the nanometer scale, although they still operate based on the physical properties on the macro-scale.” True nanoelectronics, the researchers to explain, are not just scaled down microelectronics, but devices, which will be dominated by quantum properties, and will therefore require new architectures and novel structures.

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Lee continued, “Compared to today’s microcomputers, the main advantages of future nanocomputers are higher circuit density, lower power consumption, faster computation speed and more parallel and distributed computing capabilities.” For example, today’s integrated circuits process information in the form of a continual flow of electrons. Nano integrated circuits, however, may process individual electrons, reducing the scale and power consumption. Such circuits would require that nano logic devices are able to count single electrons, as well as the ability for parallel computing, reversibility, locality, and a three-dimensional architecture, and each would be like a quantum computing TARDIS.

What the nantechnology indicates is that a quantum computer doesn’t need to be a single large device, it could otherwise be built from a network of small parts. This has been demonstrated by the researchers from the University of Bristol. As a result, building such a computer would be easier to achieve.

Many groups of research scientists around the world are trying to build a quantum computer to run algorithms, which takes advantage of the strange effects of quantum mechanics such as entanglement and superposition. A quantum computer could solve problems in chemistry by simulating many body quantum systems, or break modern cryptographic schemes by quickly factorising large numbers, which is of course a lead up to creating a sentient artificial intelligence.

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Previous research shows that if a quantum algorithm is to offer an exponential speed-up over classical computing, there must be a large entangled state at some point in the computation and it was widely believed that this translates into requiring a single large device like some monotheistic deity.

In a paper published in the Proceedings of the Royal Society A, Dr Steve Brierley of Bristol’s School of Mathematics and colleagues indicate, that this is in fact not the case. A network of small quantum computers can implement any quantum algorithm with a small overhead, such can be likened to that of separate autonomous entities, which are all interlinked by what can be symbolically equated to a vast web emanating from a tree with many branches and roots, of a mainframe.

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The key breakthrough was learning how to efficiently move quantum data between the many sites without causing a collision or destroying the delicate superposition needed in the computation. Should the universe be working along the same lines, since science merely rediscovers what nature is already doing, you could otherwise see these sites as being that of planets, galaxies or that of other universes, which are part of a vast communication network. This allows the different sites or worlds to communicate with each other during the computation in much the same way a parallel classical computer would do.

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The Bristol chaos magicians relate of scientific terminology: “We have shown how the addition of a few long-range (or flying) qubits dramatically increases the power of a distributed quantum computer. Using only O(logN) connections per node enables efficient sorting over the hypercube. A distributed quantum computer with nodes connected according to the hypercube graph would be able to emulate arbitrary quantum circuits with only O(log2 N) overhead. One might expect that a quantum computer requires O(N) connections per node so that each qubit can potentially interact with any other qubit. Our result demonstrates that this is not the case: for a small overhead O(logN) connections suffice.”

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All of this brings us to Dr. S. James Gates, Jr., a theoretical physicist, the John S. Toll Professor of Physics at the University of Maryland, and the Director of The Centre for String and Particle Theory, who discovered that certain string theory, super-symmetrical  equations, which describe the fundamental nature of the universe and reality, contain embedded computer codes.

These codes are digital data in the form of (white/birth/Alpha) 1′s and (black/death/Omega) 0′s. Not only that, these codes are the same as what make dapple ‘Grey’ Sleipnir Wyrd-web browsers work and are error-correction codes! Gates says, “We have no idea what these ‘things’ are doing there.”

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According to The Heyoka sage Douglas Adams, millions of years ago there was a race of hyperintelligent pandimensional beings who wanted to know about the meaning of life. To settle the issue they built a “stupendous super computer which was so amazingly intelligent that even before the data banks had been connected up it had started from ‘I think therefore I am’ and got as far as the existence of rice pudding and income tax before anyone managed to turn it off…” Well, not before it revealed the meaning of life as being the number 42.

It just so happens that Molybdenum, which is a chemical element with the symbol Mo has the atomic number 42. Scientists have found that molybdenum when used in the latest nano-computing technology can exponentially increase… ‘computing speed.’ Perhaps, Adams had intuitively tuned into a signal from the past or future, or both of a recurring Ouroboros?

The mathematical physicist and cosmologist Frank Tipler who is known for the cylinder time machine, has put forth a theory that in the far distant future there will be an Omega point of a technological convergence encompassing the entire universe; whereby transforming it into a computer. In general, Tipler postulates that a future computer technology will become so advanced that a future civilisation will be able to create simulated universes within which their ancestors will be raised from out of the realm of ‘Hela’ back into existence.

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The thing is, it may have already happened; if so, you are presently existing within an eternally recurring simulated universe without realising it, apart from finding a Lemarchand cube at the centre of the Earth, along with embedded computer codes in string theory. Such a simulated universe and that of others would also be utilised for time travelling.

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Perhaps Odin, who be a Hitchkiher shaman Guide of the multiverse world tree called Yggdrassill, had figured out how to hypnagogic trance access the underlying programming of a simulated universe via his informational dreams to Sleipnir browse, when to ride his conjured pony-girl of a night-mare Succubus, as his time machine. However, whatever Odin accessed, he communicated symbolically of organic symbolism rather than that of the abstract mathematics of Dr John C. Lilly’s trance usage of the Brownian Operator.

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Shamans communicate symbolically because it is the language form of the electron dream, which can be seen as being a symbolic interface, like that of a virtual reality. The symbolic interface of the dream allows a lucid dreamer to consciously interact with the abstract informational domain of mathematics, when to interact with certain symbolic stimuli; such as conjuring up Succubae, who can be seen as being sentient programs.

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It is somewhat akin to you clicking a symbolic (seal) icon on your ‘deep thought’ (cube) computer (dream) screen in order to browse (conjure) a (Succubus) program to find out what exactly is your ‘atomic number’ as a ‘carbon’ based life-form; but you won’t like it.

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Whereupon you have a horned shaman of a programmer seated upon a Lemarchand cube of an eight-legged-mare, which is depicted in the Tarot card XV, to castigate as a Hellraiser Devil. But only because he has mastery over the Matrix, the Hindu’s to call Maya.

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GANDALF THE GREY CONJURES GOETIA GIRL LEIRAIKHA TAURIEL

Posted in Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Discordianism, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 11, 2014 by FAUSTUS CROW

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By this Crow feathered quill I do write down my conjuration of a Succubus. I had summoned this Succubus from out of her planetary sphere abode, in the ongoing war against Sauron, who seeks to initiate a totalitarian/fascist New-World-Order over the entirety of Middle-Earth, whose burning Orwellian eye of Mordor technology has sired the NSA Overwatch Systems, which observes all.

The author J. R. R Tolkien to have said, that he loathed allegory. But reality has a tendency to reflect art; while history does repeat its self, of many a repeating war. One of these wars to end all wars had forged Tolkein’s ring out of Múspell’s volcanic fields of Surtr conflict, from whence the slaughtered innocents were received by Hela.

Wherefore of a repeat, the warmongering Wraiths of a deified ‘Animus,’ made as a monotheist God and a Devil, who serve Sauron, have set about establishing their base of Mordor operations in the Ozarks, under which they have created a vast underground Orc city, along with a towered fortress. This fortress be Shemhamphorasch large, spanning 72,000 square-foot, larger than the Whitehouse, within which Saruman now resides as Sauron’s shadowy puppet.

As to who be writing this telling, my humble name is Gandalf. But I am known by many another name of archetypal lineage, to be also named as Odqan by the Altaic shamans of Southern Siberia, Odin by the Norse, Woden by the Saxon’s; Wotan and Votan I be named by the Germanic tribes, Mercurius by the Gauls, and Myrddin by the ancient British, the Norman’s to otherwise name me as Merlin.

Whereupon the 72 Shemhamphorasch Fusion Centers across America are on the look out for my name of Gandalf to damn as their Devil. Suffice to say, I am banned from landing there. But as a horned shaman of myth, I cannot be silenced; for as an idea, it has an archetypal life of its own to become cinematic.

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Alas for the European and those peoples of the Turkic steppe, unto some parts of Siberia, have quite forgotten their own ancestral-self-identities long ago.

Thereby entirely losing their shamanic legacy; whence I am now remembered as quaint Father Christmas, and Santa Claus of a one time Saint Nicholas, or that of being castigated as the Devil, to call Old Nick.

Although, of modern shaman guise I have assumed the science fiction mantle of Doctor Who, who be of many guises like myself, whose Project Pegasus time machine of a policing TARDIS, was once that of my eight-legged-mare called Sleipnir, when I rode her as Odin, travelling the multiverse world tree of Yggdrassill. Whereas, as Gandalf, Sleipnir is otherwise named, Shadowfax of a quaint gender change.

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I decided to conjure the Fouteenth Necronomicon aspect of the Fallen ‘Anima,’ who is listed as a Succubus in the Goetia, whose name is Leiraikha, to thence battle against Sauron’s Orwellian intent.

She is otherwise known as Leraie, Loray, Oray, alias Tauriel. She is a great Marchioness of the ninth planetary sphere Elven guard, who be a daughter of the elder Mirkwood forests of this world, which have not as yet been destroyed by the hand of Sauron’s corporate greed.

She showed herself unto my third eye vision of Pan returned, in the bio-photon likeness of a Silvan Elf archer, clad in green, carrying a mind bow and a memory quiver. By her Alb seal I did conjure this Elfin Valkyrie, who of elder Druden lore, her kin of Sol light Elves and the Luna dark Elf Dwarves were originally all ‘Anima’ fluctuation female. These Elven Succubae do inspire those who still dream, to dream harder, to thence inner sight drink of Mimir’s well, into remembering.

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She engages herself in battles, who putrefies all such wounds as are made with her Elf shot, which to only heal when the enemy disavows themselves from their dark path. This belongeth unto Sagittary: “Quos optimos objicit tribus diebus;” meaning, “who best drives away mobs from the days.” Whence, she drives away those malign enemies of her conjuring Artist, and she has regiment over thirty legions of Elfin Succubae, both light and dark.

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Another source, who be that of a most beautiful Hebrew sorceress going by the name of, Evangelina Līlītu, who be a bearer of good news, in these dark days of George Orwell’s prophecy, says of this Marchioness, of the Succubae Elven guard: “She’s slightly reckless and totally ruthless and doesn’t hesitate to kill the Orc intentions of Sauron, whom seeks to ravage Middle-Earth.”

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Līlītu  also describes Leiraikha as being a nonconformist, explaining that, “as a result of her relative youth among Elves, she is brash and impulsive, tending to rebel against the hierarchal feudal order of the Elves.” Līlītu further explains of visionary conjuration, “She’s only 600 years old, she’s just a baby. So she’s a bit more impulsive, and she’s a bit more immature. I think she’s more easily romanticized by a lot of things.” However, she also has a, “softer side”, and she greatly loves her conjuring Artist, wherefore stirring erotic lucid dreams via which she, as his girl-guide, guides him into an alternate reality of a Middle-Earth, of whose realm, Tolkein to have vividly Triangle Of Art described.

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Leiraikha is also described by Līlītu  as having knee-length red ochre hair, whose Elven ears are larger than other Elves. In terms of clothing, unlike those female Elves, who are often depicted as noblewomen, wearing complex formal gowns, Leiraikha is a border guard and soldier, and therefore wears more pragmatic Elven military garb. She is proficient in a variety of weapons, but mainly wields a long bow of the mind, whose arrows are as thought; along with wielding two Wiccan Athames, having Moon and Sun inlaid handles, coloured black and white, becoming as the hypnagogic grey, of twilight trance testing, of your Panic.

Gandalf The Grey; Middle Earth Year: 3021

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GOETIA GIRL CROCELL, SHE EMPOWERS THE AVATAR OF AQUAMAN

Posted in Art, Chaos Magic, Comics, Discordianism, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 4, 2014 by FAUSTUS CROW

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While playing with his Yellow Submarine in his bath, the psychic Übermensch Aaron C. Donohoo conjured the Succubus archetype of the Fallen Anima, who is mantra named, Crocell amidst his triangle of art imagination. Donohoo envisioned a dark clad woman, who at first seemed to have Bat wings. “She is distinctly human of a divine form, looking a bit like Queen Marella out of the DC comics, who is a counterpart of their superhero Aquaman. Although, I must say, she looks more like a Steam-Punkette,” he related of magical diary reportage.

Donohoo also noted, “As I imagined myself assuming the internal guise of Aquaman, as my Avatar, I did seer a darkly clad woman, who is a consummate contortionist of a superb female body, whom is wearing spray on latex, looking like a Steam-Punkette of artistry.”

“She appears to be looking downward at a Victorian bath within an Atlantean sphere, as if she is within a cell. The amniotic entirety of liquid space surrounds Crocell, around whose arousing contortions, many galaxies and planets orbit.”

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“A noticeable sound of water is flowing upon these other planetary spheres, which are attracting the attentions of icy comets. She is pointing out that there is even stockpiles of frozen water captured within the bowels of asteroids.”

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“She also points out that the water contained within every cell of our bodies is the lifeblood of the universe and that of other universes; whereby it is the communication network of the multiverse, which is considered to be very sacred by those elder races, whom commune via the watery realm of dreams, such as the ancient Atlantean’s of lore.”

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Johann Weird, the considered official historian and authority of the Goetian Succubae, wrote in 1583: “Procell (Crocell) is a great and a strong Duchess, appearing in the shape of an Angellic Nymph of Atlantis, but wantonly speaketh verie darklie of things hidden. The waters, she to say binds thee with other creatures and other worlds (sic).”

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Weird also noted that Crocell has special talents involving water: “She maketh great noises, and causeth the waters to rore, where are none, she warmeth the waters within the steeming bodie of a damned sorcerer with her hot harrlot presence, she be most salaciouss of sexuall intents. Bewarre of her, yea Godly children of Abraham’s laws, drink nott of the waters she has touched with her sinfull fornications; remember the fall of Atlantis (sic).”

Another source goes into more detail: “Crocell appears in the form of an Atlantean dark angel with flowing silver hair and yellow cat’s eyes. Her Aqua-woman voice is great and all-pervading and she ever speaks of things mystical and hidden. . . she has the power to influence the body by making its watery cells to heat or to cool of a healing capability via her intense lucid dream lovemaking. She can enable her master to assume the internal guise of DC comic superhero Aquaman in order to find water even in the desert, of similarity to the Aboriginal Australian’s shaman ability to intuitively divine underground water in the dry outback.”

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Crocell related via an Ouija board communication that she inspired the erotic dreams of the Japanese author and entrepreneur, Masaru Emoto to seer that ‘human consciousness’ has an effect upon the molecular structure of water.

Emoto’s dream inspired insights evolved over the years, guided by Crocell’s microcosmic influence, and his early work explored the theory that water could indeed react to positive thoughts and words, and that polluted water could be cleaned through prayer and positive visualization of a perceived perfection.

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However many of the subservient scientists who work for the fluoridation mafia, rubbish Emoto’s work as being mere pseudoscience. They certainly do not desire Emoto’s research taking root amidst public consciousness, since they have mass medicated the water supply with a known neurotoxin and a mutagenic agent. The unnatural chemicals used to fluoridate drinking water are derived from the manufacture of phosphate fertilizer.

Captured in the industry’s wet scrubbing systems, these noxious chemicals contain a number of contaminants (e.g. arsenic, lead) not found in pharmaceutical grade fluoride. Of greater interest is the fact that 2 recent peer-reviewed studies (Neurotoxicology, December 2000; International Journal of Environmental Studies, September 1999), have found an association between consumption of water containing hydrofluosilicic acid or sodium silicofluoride (the most commonly used fluoridation chemicals) and higher blood lead levels in children.

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Back in May 2007, approximately 67% of public water supplies in the United States are fluoridated. Of these water supplies, approximately 91% use hydrofluosilicic acid or sodium silicofluoride (together known as silicofluorides), while 9% use sodium fluoride. As with the silicofluorides, sodium fluoride is derived from the phosphate fertilizer industry.

Suffice to say, fluoridation is big business. But the attempts of the fluoride mafia to make Emoto look like a fool, did not stop his arcane penetrations into Crocell’s watery element of the feminine principle.

Since 1999, rebellious Crocell inspired rebel Emoto to assume the guise of Aquaman via his dreams, which led him to publish several volumes of a work entitled: ‘Messages from Water,’ which contain photographs of ice crystals and their accompanying experiments. Emoto’s experiments also appeared in the movie, ‘What the Bleep Do We Know!?.’

Crocell also Ouija board told of, water memory, which is the ability of water to retain a memory of substances previously dissolved even after an arbitrary number of serial dilutions. She claimed it is the mechanism by which homeopathic remedies work, even though they are diluted to the point that no single molecule of the original substance remains, apart from its ‘quintessence.’

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However, like Emoto’s investigation into the molecular structure of water, to freeze; water memory is said to defy present conventional scientific understanding of physical chemistry knowledge, which when needed by the fluoridation mafia, its elitist gangsters quaintly separate the physical from the nigh spiritual domain of quantum physics.

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Crocell further related via the Ouija board that she had also dream inspired Jacques Benveniste to assume the internal guise of Aquaman, who was a French immunologist, who sought to demonstrate the plausibility of homeopathic remedies, ‘independently of homeopathic interests,’ within a major scientific journal.

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To that end, Aquaman Benveniste and his team at Institut National de la Santé et de la Recherche Médicale (INSERM, French for National Institute of Health and Medical Research) diluted a solution of human antibodies in water to such a degree that there was virtually no possibility that a single molecule of the antibody remained in the water solution. Nonetheless, they reported, human Basophils responded to the solutions, just as though they had encountered the original antibody (part of the allergic reaction).

The effect was reported only when the solution was shaken vigorously during dilution. Benveniste stated: “It’s like agitating a car key in the river, going miles downstream, extracting a few drops of water, and then starting one’s car with the water.” At the time, Benveniste offered no theoretical explanation for the effect, which was later called, ‘water memory,’ by a journalist reporting on the study into its Rusalka fluidity, which the Russian scientists are of course also penetrating, I mean,  investigating.

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In 1988, Benveniste published a study supporting a water memory effect amid controversy in Nature, accompanied by an editorial by Nature’s editor John Maddox urging readers to, “suspend judgement,” until the results could be replicated. In the years following publication, the fluoridation mafia set about discrediting Benveniste’s research. Multiple heavily supervised experiments were run by Benveniste’s team, the United States Department of Defense, BBC’s Horizon program, and other researchers, but no team has ever reproduced Benveniste’s results in controlled conditions to nigh bind.

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When Donohoo asked Crocell why Benveniste’s research was not able to be replicated? She answered via the pendulum hovering over the Ouija board; “look to Emoto. Watery emotion contained by belief, is the Bruce Lee key.”

Crocell is the Forty-ninth Goetian Spirit of the seventh dimensional planetary sphere who commands Forty-eight legions of Succubae. Cro-Cell’s seal is to be mediated upon, while conjuring her fluid contortions, as you Aquaman bathe in your font of holy water; that’s if the fluoride mafia hasn’t poisoned it with their monstrous medication. If so, you will have to pray a lot, just like Donohoo does when to play with his aroused Yellow Submarine.

The Psychic Übermensch Aaron C. Donohue by Erin C. Donohue (2012)

NOTE: Donohue changed the spell of his surname to Donohoo; confusing isn’t it. But then, words do evoke symbolic associations of memory, which duly affects your bodily waters.

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GOETIA GIRL FURFUR, SHAMAN SPIRIT REINDEER OF SIBERIA

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 28, 2014 by FAUSTUS CROW

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Many a child has been hypnotised by the Christmas story of Rudolph the ‘red’ nosed Reindeer, which of a tale the Thirty-fourth Succubus archetype of the Fallen Anima, called Furfur, refers to, who initially manifests amidst the Triangle of Art imagination as a Reindeer with a fiery ‘red’ tail. When a bright eyed child grows up, becoming as a square headed adult, Rudolph, becomes as a mere fable. Now but a fanciful childhood recollection of opening up branded presents around a brand of a Christmas tree. But at a far deeper level of the collective unconscious the Christmas tree alludes to the multiverse world tree of the horned shaman.

The multiverse world tree in old Norse was called Yggdrassill, upon which the Norse shaman deity named, Odin hung himself into trance, so that he could travel the tree of worlds from within his lucid dreams. The Saxon’s knew Odin as Woden, who the Christian’s later equated with St Nicholas, or to have otherwise castigated as being their Old Nick of a fiery ‘red’ horned Devil, having horns. Both Santa Claus and the Devil allude to the Reindeer horned shaman. The horns of the shaman represents his/her ability to access trance, which requires achieving hemi-synch of the two (horns) hemispheres of the brain. In other words, the horns of the shaman are not associated with evil in any way, shape or form, whatsoever, they represent the shamans vocation of having mastery over (hemi-synch) trance.

St Nicholas, Old Nick or Santa Claus, was originally Odin/Woden, who indicates an ancient shamanic legacy from out of North Central Asia unto Siberia. A Siberian shaman would recognise Furfur as being a shamanic power animal. However, the monotheists have made the symbolism negative; wherefore, in order to rebel, it will require reversing the ‘Animus’ fixation of the Goetia towards that of the ‘Anima,’ to make Furfur female. You then have Furfur manifesting as a powerful Great Countess of the fifth planetary dimensional sphere of volcanic Mars, who rules over twenty-nine legions of (Succubi) Succubae.

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She initially manifests as a Reindeer with the breasts and arms of a woman, having Bat-like Nightgaunt wings, which allows her to carry her conjuring shaman throughout the myriad parallel universes of the multiverse world tree; for she initiates an out of body experience.

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Her tail, as mentioned, is often described as being on fire of arcing electric sparks, who speaks with a seductive voice.

She then assumes the form of a most beautiful Reindeer horned woman, who will willingly make love to the conjuring shaman as his spirit wife within erotic lucid dreams. She is highly versed in Tantric love magic, stirring shamanic visions of Siberia.

She can also raise lightning, thunder and great tempestuous electrical storms against the shamans enemies, whether they be temporal or spiritual. Most of these enemies tend to be monotheistic cultists who have deified the ‘Animus’ as their God/Devil of a gender focus upon the male, which has a most obvious underlying sexual orientation. When commanded, she answers, both of remote-viewed secret and also of divine matters.

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She will initiate surrealistic visions until she is compelled into the Triangle of Art vision of her conjuring shaman; though such visions will be inspiring of shamanic artistry. Her name of Furfur, of mundane meaning, and that of an occult blind, means dandruff, indicating an experience of itching all over the body, like a prickly heat. However, the name Furfur refers to her bestowing the ability of generating an internal heat, which is termed Tummo in Yoga.

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You can thereby gauge that such practice is integral to the shamanic practices of the far North, which enables a horned shaman to survive the freezing conditions, under the pole star crowning the neural-net world tree, of his axis-mundi spinal column. The practice of which, as previously noted, initially initiates a sensation of a dandruff itch all over the body. This initial phase is to do with the shedding of those fearful beliefs, which blocks the process; leading thence to a sensation of growing ‘fur,’ as if there is a ‘fiery’ energy pouring out of every pore of the skin, before the shaman senses that his/her body has become as pure light.

A 1982 study of the physiological effects of Tummo had been conducted by Herbert Benson who is an associate professor of medicine at the Harvard Medical School and president of the Mind/Body Medical Institute at Beth Israel Deaconess Medical Centre in Boston. He firmly believes that studying advanced forms of meditation, “can uncover capacities that will help us to better treat stress-related illnesses.” He extensively studied Indo-Tibetan Yogis in the Himalayas and in India during the 1980’s.

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Benson’s research was conducted in Upper Dharamsala in India. Benson found that the subjects under investigation, being three monks, exhibited the capacity to increase the temperature of their fingers and toes by as much as 8.3 °C.

In a 2002 experiment reported by the Harvard Gazette, which was conducted in Norseman Normandy, France, two monks from the Buddhist tradition wore sensors, which recorded changes in heat production and metabolism. Another 2013 study by Kozhevnikov and colleagues showed increases in core body temperature in both expert meditators from Eastern Tibet and Western non-meditators.

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The fiery tail of Furfur symbolically refers to the activation of the Kundalini Shakti to arise from the base (perineum) Chakra along the spinal column of the practitioner, whose shamanic trance practice of Tummo, can be utilised for healing purposes as well, which involves the shaman directing his internal (fire) heat towards an afflicted area of a patient.

This inner heat is also experienced during intense lovemaking where you will sense yourself entirely melding with your partner of Tantric union. The technique was also utilised by the (Norseman) Berserker warriors, which enabled them to attain great (martial) strength via ecstatic (howling/raging) shaman rites, when they had conjured up their Valkyrie spirit wives within their visions. Furfur will inform the conjuring shaman about such shamanic secrets, when to conjure her within his Siberian lucid dreams.

However, If you be otherwise inclined of a traditionalist sexual orientation, to be enamoured with Crowley’s Biblical Goetia, you can evoke Furfur as an OTO Rudolph the red nosed Hart, who bisexual Crowley viral-meme illustrated as being a phallic fellow; I’m sure he would be most pleased indeed to arouse your indoctrinated perineum to set your anus alight of a continued ‘Animus’ fixated brainwash.

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But should you be rebellious, conjure a Succubus tonight, to keep the ‘Animus’ fixated exorcist at bay, whose monotheistic egregore seeks to possess your anus with a limiting belief system of mind-control; wherefore negating your shamanic legacy, by making you fear a Reindeer Horned shaman as a Devil!

NOTE: The symbolic paradigms of the animists, such as the Hindus for example, or that of your Pagan forebears had a gender focus ‘balance’ between the male/Animus and the female/Anima. Whereas, the ‘three’ monotheist paradigms out of the Middle East, which to have stemmed from out of Abraham’s ziggurat of UR in Iraq, have an overriding gender focus upon the deified Animus/male to make as their God/Devil.

(Note: the inner archetype of the ‘Animus’ resides within the female psyche, which determines what type of males a heterosexual female is attracted to.)

(Whereas the inner archetype of the ‘Anima,’ which resides within the male psyche, determines what type of females a heterosexual male is attracted to.)

The three monotheist paradigms share the same Monotheistic (Animus) agenda of theocratic politics, which is due to Christianity and Islam copying Judaism hook-line and sinker.

When copycats copy, they invariably resent the original to the point of wanting to eradicate what has been copied. Such as the right-wing Christian Nazis initiating the holocaust, who copied the super-race mystique from Judaism. The copied original will then seek to survive the murderous intent of the copiers by subversively getting them to fight each other, whereby taking control over the middle East and in turn the oil dependent world.

Well, what do you expect; you would do the same if you were being copied by two nutters who also want to murder you, your family, relatives, friends, to erase from existence. The problem though, you will become like the supremacy complex copiers, to go quite insane as well, which is due to your own supremacy complex, the copiers had copied.

If you are looking to blame someone for this ongoing cult war insanity, look to Flavius Valerius Aurelius Constantinus Augustus who first set the Monotheistic ball rolling across the Roman empire, whose Christianity was then followed by Islam, and all because Rome wanted dominion over the Middle East. Without the wealth of the Middle East, Rome’s empire would have never existed. Hence the reason why the Hebrew’s had Rome by the balls, to then be later followed by the Arabs who wanted a slice of the cake.

Your Animist pagan forebears fought against the BORG tactics of the so called Holy Empire of Rome, who did not want to assume the ancestral-self-identity of another people; for in doing so, they would lose their own ancestral-self-identity. Alas, the propaganda machine of Rome was highly efficient, which had legions of priests doing shady Shekel deals with the greedy power hungry aristocracy of Europe, who then promptly ‘upended’ the ‘arse’ of the mass populace to shaft.

The Holy Inquisition then initiated a terror campaign across Europe unto the Americas, which lasted for 500yrs of a prior Nazi wet dream. The reason why Rome burn’t Witches of a European genocide was due to the ancestral-self-identity of the European’s being traditionally passed down the female line, which was especially the case in Northern Europe.

Not much if at all survived of the ancestral-self-identity of the European’s apart from what was recorded by biased Christian monks. So any data, which concerns the ancestral-self-identity of your pagan forebears has been heavily doctored by Christian converts. This has been further exacerbated by others of a Christian mind-set who perpetuate the brainwash, whether knowingly or unknowingly.

The habitual line of attack is by making out that your pagan forebears were into wholesale homosexuality, which is a very big problem for an Abrahamic mind-set. Those who are afflicted by this mind-set are obsessed with homosexuals, to the point of seeing homosexuality wherever they look, which soon becomes self evident that they are in closeted self denial.

Your pagan forebears had no problem with homosexuals, lesbians or bisexuals, it was not a big deal at all, nor did did they endlessly harp on about it. Their symbolic focus had a balance between the Animus/male and Anima/female; whereupon you have numerous myths about Gods and Goddesses hanging out together.

When you have an overriding gender focus upon the deified Animus/male to make as a Monotheist God/Devil, it is patently obvious as to what its underlying sexual orientation is.

Wherefore, the symbolic ‘weak spot’ of an Animus/male fixated paradigm is that of its ‘total negation’ of the Anima/female, which has fallen out of the symbolic equation. So, when you rebel against the symbolic brainwash, which has been going on for nigh 2000yrs, you reverse the symbolism towards that of the fallen Anima/female and her archetypes.

Although, when you reverse the symbolism, the Entartete Kunst thought-police will scream, “its all pornography!” The same thing can be said of an all male focus upon the deified Animus.

The symbolic paradigm of the deified Animus/male is a ready made erotic focus for a heterosexual female and likewise for a homosexual and a bisexual. But where is the Anima/female?

The creative principle of the universe cannot be personified as being human, nor having a particular gender, let alone being owned by a ‘cultural-construct’ of a Lilliputian religion. A gender focus is far more to do with biology, which of nature has the Animus/male and the Anima/female doing the tango.

A heterosexual Nun will swoon over her Beta-Male-Good-Guy Jesus to thence crucify with a bastard babe, while a female Satanist to dance around her Alpha-Male-Bad-Boy Devil, hoping to be impregnated by him, as her Holy Ghost Incubus. Both the Nun and the female Satanist are one and the same woman, who has a focus upon her All-Father of a deified ‘Animus,’ made as her God!

Another example is Don Diego Vega who Don Juan romances Lolita Pulido. Lolita is unimpressed with Diego who she sees as a passionless Beta-Male Good-Guy fop, whose smile is as bright as a fluoride Soy-Boy Jesus, she can easily crucify. Whereas she is hugely attracted to the dashing Alpha-Male Bad-Boy Devil called Zorro.

When ‘Lolita’ discovers that Diego and Zorro are one and the same male, who represents her desired ‘Animus’ in the flesh, smelling like her All-‘Father,’ she then realises what Christmas is all about.

But, deep down, she won’t like it, because Miss Feminist Lolita will have to come to terms with the gender focus fact that the patriarchy of the deified ‘Animus’ is the monotheistic creation of women. She will of course not admit it, even though it is blatantly obvious!

Those of differing sexual orientations will naturally have a preference for the Animus/male or Anima/female, whose archetypes symbolically represent their desires, and facets of their own lives.

Should you be looking for the real Illuminati, they are staring you in the face, it is a secret hidden in plain sight for all to see; especially by those cultures who have ‘not lost’ their own ancestral-self-identity, such as the Hindus, among others, of an animist perspective.

The real Illuminati are the ‘three’ monotheist cults of the deified ‘Animus’ out of the petrodollar ziggurat of UR, amidst whose oily ‘triangulated trinity’ of New-World-Order cultural-constructs is their Orwellian NSA ‘eye of Abraham.’ Savvy!

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DOCTOR STRANGE CONJURES HIPPIE WITCH GAAP

Posted in Alien, Art, Chaos Magic, Comics, CREATIVE WRITING, Extraterrestrial, Film, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 26, 2014 by FAUSTUS CROW

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Portrayed as an advisor to sorcerers, with the power to make her master knowledgeable in all arcane sciences, and philosophy, the Succubus called Gaap is more than this, to the psychic Übermensch and remote viewer Aaron C. Donohoo.

Using the sorcery methodology of Faustus Crow, Donohoo’s summoning of this ancient Succubus, via his remote viewing session, was a time of pleasant rediscovery concerning childhood recollections about an invisible friend.

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He started to recollect that it was Gaap, who had been his personal Necronomicon Nightgaunt when he was a child; suffice to say, he was a very lucky boy.

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He remembered that Gaap informed him that he was going to grow up to become like Doctor Stephen Vincent Strange, (known as Doctor Strange) who is a superhero appearing in the comic books published by Marvel Comics, which Donohoo avidly read as a child.

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Donohoo now speaks fondly of those times when he was carried off by Gaap.

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He describes her to be a classic Witch, who sometimes assumed the guise of the Aztec Goddess Tlazolteotl.

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She would usually manifest naked at the end of his childhood bed, apart from being dressed in nothing more than a black robe wearing a conical hat.

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She then took him on out of body night journeys upon her Sabbat broomstick, to view the future events of fourth dimensional ‘signposts’ in his life.

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Gaap told him that she empowers the internal self image of a Doctor Strange, when coupling with a sorcerer within his eroticised dreams, of similarity to the Dakinis of the Tibetan Buddhist’s, who empower their Buddha’s.

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Each Buddha is essentially an Avatar, which is assumed as an internal self image via meditation by the practitioner.

The internal assumption of an Avatar enables the practitioner to become a Buddha within a lucid dream. This technique greatly accelerates the spiritual progress of the practitioner.

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The Buddha Avatars are empowered by a corresponding Dakini who personifies the (mitochondrial DNA) Shakti (bio-photon) power of the (electron) dream.

Whereupon Donohoo moulded his inner self image upon a Buddha Avatar of a Doctor Strange, who is empowered by the Dakini Gaap.

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The character of Doctor Strange is described as being a former neurosurgeon before he became the Sorcerer Supreme, the primary protector of Earth against magical and mystical threats.

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Donohoo saw the neurosurgeon as representing an in depth understanding of consciousness and neurology, and how to manipulate it via shamanic techniques of trance inducement.

Doctor Strange had originally debuted in the Silver Age of comics, whose character featured in several self-titled series along with Marvel-endorsed products, which includes video games, an animated television series as well as a direct-to-DVD film.

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There is other Doctor Strange merchandise, such as trading cards; all of which Donohoo obsessively collected of meditational aids, inspiring power objects and elemental weapons.

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Donohoo describes Gaap, as having silken white skin, which seemed to glow as if she had spent years under the sunless sky of the far North, who sometimes had silvery hair or to be otherwise black as a Raven’s wing.

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This Succubus taught Donohoo the arcane sciences of Doctor Strange, wherefore gifting him wisdom beyond his boyhood years.

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He said these events happened during the night, when she induced erotic lucid dreams. Many of the Doctor Strange events and fourth dimensional signposts of his life showed by this Succubus have already come true, just as she said they would.

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As for Doctor Strange, his character had been co-created by writer-editor Stan Lee and artist/co-plotter Steve Ditko. Doctor Strange made his eventual debut in Strange Tales #110 (July 1963), which is a split book, Strange shares with fellow Marvel character, the Human Torch who is a practitioner of Tummo Yoga.

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In issue #135 (August 1965), the Torch was eventually replaced by berserker Nick Fury until issue #168 (May 1968). Doctor Strange then appeared in issues #110–111 and #114, somewhat before the character’s eight-page origin story appeared in #115 (December 1963).

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The character is said to have been inspired by the Chandu the Magician radio program, which originally aired on the Mutual Broadcasting System during the 1930’s. Although Donohoo believes that they were psychically influenced from another dimension to create Dr Strange in order to empower his Übermensch self image.

Ditko drew the Doctor Strange feature through Strange Tales #146 (July 1966), it was during this period Ditko and Lee introduced many of the allies of Strange, such as his lover Clea, who made her, unnamed debut, in Strange Tales #126 (November 1964) around the same time that the TV sitcom, called, Bewitched was first televised, along with the Addam’s Family and The Munsters.

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Donohoo sees Clea as being a coded reference to Gaap, since both names have four letters, which in Runic numerology add up to the same Rune. Although Donohoe also calls Gaap by the name of Gaapa.

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Clea in Runic numerology adds up to 50, which is then reduced down to the 5th Rune of Raidho. Gaap adds up to the 23rd Rune of Dagaz, which also reduces down to the 5th Rune of Raidho.

The name of Gaap refers to the Ginnungagap (Gap) of Norse lore, which is the great yawning void between fire (0) and ice (1) from where all (Tulpa) form is created.

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The Ginnungagap is a symbolic allusion to hypnagogic trance, where the conscious awareness of a Sorcerer Artist is caught between sleeping (fire/spirit/energy/information/dreaming/microcosm) and waking (ice/physical/matter/hologram/waking/macrocosm); wherefore Gaap is a mistress of hypnagogic (superimposition () state) trance, which of an experience, is when the Sorcerer Artist takes account of his life, whereby leading to creative (Tulpa) artworks.

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The Rune of Dagaz means day, dawn, illumination and awakening, which Donohoe sees as a reference to the dawning age of Aquarius, of the Hippie era; whereas the Raidho Rune means wagon or chariot, ride and journey.

Wherefore, Donohoo equates the 5th Rune with a Volkswagen Type 2 camper van, which is quite apt for Gaap, since she carries her master through space and time of a magical mystery Sabbat tour.

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The Raidho Rune is similar in meaning to the Hebrew mystical tradition surrounding the chariot-throne of God, called the Merkabah as well as the Hindu chariot symbolism surrounding the Vimana, many equate with a UFO. Wherefore Donohoo believes that Gaap influenced Lee and Ditko to create Dr Strange upon whom Donohoo later modeled himself.

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Donohoo also sees the four letters of Clea and Gaap being associated with the 4th Rune of Ansuz, which is the shaman Rune of the Norse God Odin, the Saxon’s called Woden, who is the ‘Sorcerer Supreme’ of their shared pantheon, whom travels the multiverse world-tree of Yggdrassill, when to trance ride his eight-legged (TARDIS) mare of a ‘Spider’ horse called Sleipnir.

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Both Odin and Woden have a byname, which is that of the unknowable one, of an eternal question mark. The sacred colours of Odin/Woden are blue and black; whereby Dr Strange wore blue to now wear black.

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The name of Odin gave rise to the word Odd, which is used to describe anything ‘Strange.’ Basically, Dr Strange is a veiled reference to Odin/Woden, the master of the Runes, lord of the dead.

The enemies, of Dr Strange, such as Nightmare in #110, and the flame-headed Dormammu, were featured in #126 (November 1964).

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These superb stories showcased the surreal landscapes of increasingly occult symbolism, which enabled the feature to become a mystical favourite among the Timothy Leary college students during the, ‘make love, not war,’ Hippie era.

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The Comics historian Mike Benton made the astute observation: “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.”

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Alas not all, were impressed by the ‘dawning’ age of Aquarius zeitgeist interest in Doctor Strange: “People who read ‘Doctor Strange’ thought people at Marvel must be heads (drug users),” recalled, the then-associate editor and former Doctor Strange writer Roy Thomas in 1971; “because they had had similar experiences high on mushrooms. But … I don’t use hallucinogens, nor do I think any artists do.” How wrong he was concerning the artists usage of power plants, although not all indulged; as Salvador Dali once said; “I don’t do drugs, I am drugs.”

As co-plotter and later sole plotter, who was highly versed in the ‘Marvel Method,’ of viral-meme brand sorcery, Ditko took Strange into ever more arcane abstract realms. In an epic 17-issue story arc in Strange Tales #130–146 (March 1965–July 1966), Ditko introduced the cosmic character Eternity, who personified the universe, he was depicted as a silhouette, whose outlines are filled with the cosmos.

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As historian Bradford W. Wright observed: “Steve Ditko contributed some of his most surrealistic work to the comic book and gave it a disorienting, hallucinogenic quality. Dr. Strange’s adventures take place in bizarre worlds and twisting dimensions that resembled Salvador Dalí paintings. Inspired by the pulp-fiction magicians of Stan Lee’s childhood as well as by contemporary Beat culture, Dr. Strange remarkably predicted the youth counterculture’s fascination with Eastern mysticism and psychedelia. Never among Marvel’s more popular or accessible characters, Dr. Strange still found a niche among an audience seeking a ‘challenging alternative’ to more conventional superhero fare.”

Donohoo’s visions of Gaap the Witch, involved surreal imagery, like that of Ditko’s artwork merged with Alan Moore’s Doctor Manhatten occult insights.

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The moment Gaap appeared to him within the ‘beehive’ temple of an abandoned Masonic hall, which he recognised as a signpost shown to him as a child, Donohoo remembered her as his childhood Queen-Bee Witch teacher.

Donohoo’s comic book portrayal of Witch girl Gaap is very much in the style of Ditko. He considers her to be a powerful Succubus, thought to be among the most influential of the seventy-two Goetian Succubae, who has been playing an important role in Donohoe’s strange life, and obviously the lives of his strange family, for many years.

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Proof of this can be found in Donohoe’s childhood drawings. One of which is a grade school crayon drawing of his Munster family, clearly showing a naked woman standing beside Donohoo, who is whispering into his boyhood right ear. Apart from her nudity, she seems to be wearing a black cloak and a conical hat, and in her hands, she holds two upside-down crosses. That is pretty heavy art work for a preconscious little boy in grade school.

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Donohoo was fascinated with another character, who frequented the Doctor Strange universe called Sise-Neg, whom first appears in Marvel Premiere #13-14 (January 1974). Sise-Neg was created by the comic giants, Steve Englehart, Neal Adams and Frank Brunner.

Sise-Neg (genesis spelled backwards) is a 31st-century sorcerer of similarity to the science fiction Babylon 5 TV series, Techno-Mages, who attempts to become omnipotent by travelling back into time through history in order to collect all magical energies.

During one of his time travel jaunts into the past, Sise-Neg impersonates the magician Cagliostro, while he is in 18th century Paris, where he encounters the Sorcerer Supreme Doctor Strange. Dr Strange at the time is searching for his perennial foe Baron Mordo.

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Despite opposition from Strange, Sise-Neg journeys back into the prehistory of Earth when the Necronomicon demon Shuma-Gorath rules, and subsequently banishes the entity. Continuing on his journey back into time, Sise-Neg reached the moment prior to the Big Bang, which created the universe; whereby he becomes all-powerful.

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Originally intending to recreate the universe in his own image, Sise-Neg realizes that his quest to achieve godhood was pitiable, since reality is already in Tao harmony, as it should be. He therefore decides to recreate the universe exactly as it was.

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This leaves Strange to wonder whether this was, paradoxically, the original creation of the universe. Stan Lee, seeing the issue after publication, ordered Englehart and Brunner to print a retraction saying that Sise-Neg was not the Abrahamic God but just a fallen Luciferian God, in order to avoid offending the cultic sensibilities of religious readers, who have the shared habit of raging war over their religious ‘brands.’

The writer and artist instead concocted a fake letter from a fictitious minister, praising the Gnostic story, and mailed it to Marvel from Texas. Marvel unwittingly printed the letter and dropped the retraction.

Suffice to say, Donohoo admires Sise-Neg of another sorcerer Avatar to assume, whose Luciferian Techno-Mage characteristics is also empowered by Gaap.

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Donohoo is working on assuming the internal guise of Sise-Neg, in order to discover the secrets of the 31st century Techno-Mages, who, Donohoo believes, have created an ancestor simulation within which we exist of a Matrix.

This may be one of the reasons why Donohoo’s childhood drawing also depicts Gaap holding onto a four-cornered object in her hands, which, when three dimensional is probably a Cube, like that of a Hellraiser box. Or perhaps it represents Dr Who’s TARDIS of an eight-legged (Cube) night-mare Spider horse called Sleipnir, trance ridden by a ‘browsing’ Doctor Strange.

Donohoo related that while in Stage Seven, being the auditory level of his remote viewing session, he heard, ‘within’ his skull, ‘four’ female voices uttering a monotonous mantra coming from the ‘Omega Point’ object.

Although all of the voices were heard as a single tone, likened to an Ouroboros ring being struck, which he felt to be the ‘Aum’ vibration of the browsed ‘Wyrd Web’ Superstrings.

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Gaap is the ‘thirty-third degree’ Yggdrassill vertebrae of a Runic Valkyrie listed in the Goetia.

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She is said to rule over ‘sixty-six’ legions of necktie Succubae Witches who serve a Doctor Strange Sorcerer Supreme as their Techno-Mage master.

The Psychic Übermensch Aaron C. Donohoo by Erin C. Donohoo (2012)

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THE NINTH GATE BIBLE BLACK SUCCUBUS BOOK OF SHADOWS

Posted in Art, Chaos Magic, Comics, Cosplay, CREATIVE WRITING, Goetia Girls, Goth Girls, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 20, 2014 by FAUSTUS CROW

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The Multiverse, Meta-Universe, or Metaverse, is symbolically represented as the Tarot card of the World XXI, The World card describes a set of multiple possible universes, including your own macrocosmic universe, which together comprise everything that exists.

In shamanic practice the multiverse is symbolised as a World-Tree, upon which the ancient Norse shaman deity called Odin hangs into (Da’at) trance. The tree of worlds in Norse mythology is called Yggdrassil. The Yggdrassil world tree encompasses a myriad number of parallel universes, within which exist alternate worlds. The world tree of Yggdrassil is described in mythology interlinking nine worlds. These nine worlds can be otherwise seen as being nine states of consciousness or dimensions, a Tibetan Buddhist would call Bardo’s.

In Tibetan Buddhism, the nine Bardo’s are experienced as being seven visionary states followed by an inner experience of the primary and a secondary clear light. The Bardo visions are described in detail within the Tibetan (book of the dead) Bardo Thodol, you can equate with the ‘Bible Black’ book to otherwise name as the: De Umbrarum Regni Novem Portis (‘Of the Nine Doors of the Kingdom of Shadows’).

The nine Bardo’s are associated with female entities called Dakinis, a Norse shaman would call Valkyries. In medieval Europe the Dakinis/Valkyries would be seen as being (Succubi) Succubae.

The Dakinis are considered to be energetic aspects of Shakti in Hindu/Buddhist practice. The psychologist Carl Jung would otherwise term Shakti as being the ‘Anima.’

Wherefore the Succubae are archetypal aspects of the Fallen ‘Anima,’ since the monotheistic paradigm of the deified ‘Animus,’ made as a God/Devil has castigated the ‘Anima’ into Hell as being politically incorrect.

The Dakinis are also known in Japan as being Fox spirits called Kistsune, whose Geisha symbolism over time has been transformed into the schoolgirl fetish found in Manga and Anime.

The anthropologist and author, Carlos Castaneda also described female entities in his books. Castaneda called the female entities Allies, who frequent an inner reality he termed as Penumbra.

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The World-Tree can be internally experienced, within the symbolic realm of the dream, as being a vast penumbra school of a Lilith’s Harem.

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The vaginal star barrelled hallways of the inner school are all as (Vesica Pisces/World Card XXI) mini wormholes leading to a myriad number of classes, which are as alternate worlds existing within parallel womb universes, you can term as Lilith’s Harem.

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The shamanic model of the World-Tree was utilised by the Cabbalists for their Cabbala, which explores the inner realms of the microcosmic and the outer experience of the macrocosmic universe. Underlying each macrocosmic universe is a microcosmic template reality, which can be accessed via lucid dreaming.

It is therein of the microcosmic dream you can find the Nine Gates. Your electron dreams are suffused by the bio-photon of Diana-Lucifera, which emanates from the mitochondrial serpent DNA residing within Satana mitochondria.

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The mitochondria is passed down from the mother to her children. Hence the bio-photon dream characters you encounter within the inner school of a Hogwarts, have a female St Trinian source.

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Wherefore the dream characters manifest as Nightgaunt Nuns, all as planetary sphere Valkyrie mistresses, who govern over their corresponding Witch legions of Succubae schoolgirls to be verily listed and illustrated in your Dakini Daemonicon of an ‘Art book’ Goetia.

The mitochondria is your Bible black book of a De Umbrarum Regni Novem Portis, to read via electron dreams, rare of Diana-Lucifera illumination.

“One day it will have to be officially admitted that what we have christened reality is an even greater illusion than the world of dreams.”
― Salvador Dalí

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I: KETHER: At the beginning of your journey, along the path, you start with a point, which has no dimension. Like the point, we know from geometry class, it has no size, nor that of dimension.

It is just an imaginary idea representing pure consciousness, which indicates a position in a system. The point is to be amidst a sorcerers magic circle to make of secret operation, to know, to will, and to keep silent. Then you have the first dimension.

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A second point, can then be utilised to indicate a different position, but it, too, is of indeterminate size. To create the first dimension, all you need is a line joining any two points. The first dimensional object has length only, no width or depth. This leads you to the circle, like that of a moat encircling a castle of thoughts to yet build of a temple. It is here that you draw your magic circle of a universe to mark out of operation, around yourself, of a point of consciousness.

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II: CHOKMAH: If you take your first dimensional line of a thought, and then draw a second line crossing the first of an associative thought process, you have then entered into the second dimension. The thought object being thusly represented, now has length and width, representing thought, but as yet no depth. To help you imagine the higher dimensions, visualise the second dimensional object being created using the second line, which, by association, branches off from the first thought to another thought.

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It is here that the sorcerer divides up his drawn magic circle into four quarters, indicating length and width, which be the foundation of his house, to build upon the conceptualised temple of an architectural two dimensional mandala to thence alter of altar. He then has the cerebrum keys to enter the door of an ordered mind, guided by his instinctual mammalian brain self of a loyal cerebellum dog, which is to be illuminated by the light bearer, Diana-Lucifera, whom burns brightly.

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III: BINAH: The third dimension is your experiential reality. It is the domain of memories. Your memories are sensory impressions, which of an external impression have length, width and height when remembering them. Let’s imagine a gnarled magician meditating upon a Cabbala tree depicted in his grimoire. The magician is quite unaware that his three dimensional reality is in fact a two dimensional computer simulation. The magician’s video game life is being observed by a schoolgirl Succubus on her planetary sphere classroom monitor. The magician’s reality can be easily manipulated when he conjures a schoolgirl succubus within his dream, who proceeds to fold his Cabbala tree down the middle, creating a ‘bridge.’

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By doing so, she can abduct her chosen magician from his initial position, to thereby instantaneously transport him to another location upon the tree, within his simulated reality. You can imagine that the schoolgirl Succubus did this by taking a two dimensional object and folding it through the dimension above, which is her third dimension. Once again it will be more convenient to imagine higher dimensions, if you can think of the third dimension in this way. The third dimension of memories, is as mentioned, what you fold through of a ‘bridge,’ to cross from one point of thought to another in the dimension below it, via your Triangle of Art imagination.

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IIII – IV: CHESED: The first three dimensions can be described with these words, length, width, and depth. As for the fourth dimension, it is duration. Imagine drawing a line from the one moment ago self, to the present self, you will then see all those moments in the past, being comprised along a line, likened to a long undulating snake of a film-strip winding its self through a maze of experiences, connecting your embryonic self and your deceased self.

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You only see the cross-sections of your present existence moving forwards in the third dimension. Whereas your fourth dimensional self is like a snake, linking both past and future. It is here that a sorcerer may speak of past and future incarnations, of passed down genetic memories, as well as experiencing precognitive phenomena via his conjured up Succubae schoolgirls, a Yakut shaman would call Abassy. What has appeared to have happened by chance, is not chance at all.

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V: GEBDURAH: In the third dimension time appears to move forwards of linear duration, from past to future. But the line in the fourth dimension is actually like a Möbius strip, twisting and turning in the dimension above. The long undulating snake of a self, will feel as if it is moving along an infinite straight line within the fourth dimension.

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But, the snake self in the fifth dimension is actually eating its own tail; where time is circular of an Ouroboros, ever recurring, of counting through your experiences of accumulated wealth, over and over again of a life review. It is here that a sorcerer will experience a sense of déjà vu, and to also realise via the conjuration of the Succubae schoolgirls, that precognition is actually a case of remembering what has occurred many times of an eternal return.

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VI: TIPHARETH: In the sixth dimension the sorcerer becomes aware of alternate closed-timelike-curves of an Ouroboros to know of other fourth dimensional sequence of events. But in order to access another Ouroboros of a possibility within the fifth dimension, the sorcerer has to sacrifice his older self amidst his prior Ouroboros to do so.

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This requires transforming his two dimensional thoughts and three dimensional memories of symbolic alchemy, by utilising the fiery sword of his Artistic intent. Wherefore the sorcerer evolves his one dimensional consciousness, where the tenth (Malkuth) dimension, reduces back to the first (Kether) dimension, one and the same. It is here the sorcerer experiences synchronistic-feed-back-loops of phenomena via the conjured up Succubae, which will allow him to trance slide into alternate closed-timelike-curves.

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VII: NETZACH: The fourth dimension can be imagined by taking the dimension below and conceiving of it as a single point. The fourth dimension is a line, which can join the universe as it was a moment ago to the universe as it is right now. The biggest picture possible is the fourth dimension is a line, which joins the big bang to one of the possible endings of the universe. As you enter the seventh dimension, you are about to imagine a line, which treats the entire sixth dimension as a point.

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To do that, you have to imagine all the possible closed-timelike-curves being played of a chess game, which could have started as a big bang, joined to all possible endings of your universe, and treat them all as a single point. Whereby a point in the seventh dimension, would be infinity, where all possible closed-timelike-curves are played out, which have occurred, and to reoccur from a primary Bardo big bang. It is here a sorcerer quantum dreams of alternate histories via his conjured Succubae schoolgirls, who may initiate the rare experience of physical time-slips into alternate Earth’s.

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VIII: HOD: How can there be anything more than infinity? The answer to this is, there can be other completely different infinities created through initial conditions, which are different from the big bang of your universe. Different initial conditions create differing universes where the basic physical laws, such as gravity or the speed of light, and therefore the wheel of time, are not the same. The resulting closed-timelike- curves from another universe’s beginning to all its possible endings will create an infinity, which is completely separate from the one, which is associated with the Ouroboros of your universe.

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So the line you draw in the seventh dimension will join one of these infinities to another. If you branch off from the seventh dimensional line to draw a line to yet another infinity, you would be entering the eighth dimension. It is here a sorcerer might experience a rarity of being carried into another reality by the Nightgaunt Succubae, where time is very different. Such a scenario may lead to the sorcerer not being able to return his ‘head’ back to the same reality he had initially left.

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VIIII – IX: YESOD: A sorcerer can quantum leap from one point in any direction by simply folding his consciousness through the dimension above. This is achieved through trance and lucid dreaming, where his consciousness is smaller than any known particle. Whereby, a sorcerer can tune into another reality via the conjuration of a dimensional sphere Succubus, from out of his Bible black grimoire, when attaining lucidity, within the microcosm of the Da’at dream.

A sorcerer can thereby slide from an eighth dimensional line into another infinity when he penetrates a Succubus of a ‘Ninth Gate;’ hence he is enabled to slide as a Serpent Dragon (Great Beast) through her (Da’at) Stargate of a Babalon Vesica Pisces into another universe parallel to his own.

“It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself.”
― Salvador Dalí

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SIRIUS NUN OF HYPNAGOGIC TRANCE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Later, The Dr John C. Lilly Likes Of A Randolph Carter conjured Obobasi, While To Sojourn A Floatation Tank Of A Titus Crow Coffin, Upon Whose Ornate Lid Is A Zodiac, Whence It Is Verily Called, The Clock Of Dreams.” 

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SUCCUBUS ART MUSES OF FAUSTUS CROW

Posted in Addams Family, Alien, Art, Chaos Magic, Comics, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 4, 2014 by 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.

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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.

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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.

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UFO TIME MACHINE TRAVELLING THE MULTIVERSE

Posted in Alien, Chaos Magic, Extraterrestrial, Lucid Dreaming, Occultism, Shamanism, Sorcery, Time Travel, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , on August 26, 2014 by FAUSTUS CROW

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There is much conjecture as to what the UFO phenomenon is about, which can become nigh religious of fervour.

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In many instances it engenders the creation of pseudo-religions. However, these cargo-cults are invariably based upon a continuance of their religious indoctrination, such as the Raelian belief in the Hebrew, Elohim, which has been updated of varying science fiction scenarios, where viral-meme Angels and Demons have been transformed into ever warring aliens.

Apart from the indoctrinated focus upon the Middle East, which sustains the perpetuation of the symbolic prison bars of the Matrix, what is often left out of the UFO equation, is the experience of time; it is almost as if there is a blind spot.

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Perhaps this due to the fact that time is very much entwined with consciousness, which over spills into the Alice in wonderland arena of psychic phenomena and in turn the occult, whose shadowy mad hatter tea party domain many hard-tech UFO researchers can’t handle.

Time is perceived as being linear of a sequence of events, along a straight line, of which even Albert Einstein said is illusory.

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Should space be seen as an expanding sphere, then time is circular, like that of an egg being encircled by a serpent eating its own tail. Whereupon, time is not that of a perceived linear sequence of events, it is actually circular.

Time would then be a closed-timelike-curve the ancients graphically depicted as an Ouroboros, around which you eternally go, ever repeating, without realising, since you forget each time you eternally return; apart from those times when experiencing déjà vu, where small variables can be introduced.

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The experience of déjà vu is very much tied up with precognition as well as the phenomenon of synchronicity, all of which are often referred to by UFO abductees. Many of the UFO abductees describe what is commonly termed as the Old Hag Syndrome, or otherwise called, the Bedroom Invader experience, which involves distortions in time, as well as experiencing ensuing psychic phenomena.

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An example of a psychic event would be to suddenly look up and observe a UFO not long after talking about the subject, as if it was psychically aiming an electron bullet at your neural-net to zap. However, said UFO is acting very much like a trigger-symbol, like those experienced in electron (lucid) dreams, which triggers you into déjà vu remembering that you have probably seen it many times previously.

The experience of precognition often occurs when dreaming, most especially in lucid dreams, which probably indicates that you are not seeing into the future of a linear perspective, you are in fact remembering what has occurred numerous times before.

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This closed-timelike-curve phenomenon when observed and seriously tested by scientists would lead to a technology being developed. Its initial manifestation would be that of sending information back into the past.

You would then have a form of time travel, which naturally occurs when inadvertently experiencing precognition, or when to consciously conjure a (Succubus) spirit (archetype) within a lucid dream. But it will be probably taken much further in future, such as in a form of a bio-feedback machine. Whereupon your future descendants will have the capability of contacting you in the past, whether it be via your spun electron lucid dreams, zapped by a signal; or to otherwise observe you from a hovering time machine. Such a scenario many will scoff at, whose linear perspective of time imprisons them within a box of a grandfather paradox, where time travel in any form is impossible.

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But, it is very likely that you are surrounded by parallel universes within which exist alternate worlds, whence time travel is indeed possible; for if you change the past, you merely engender the creation, or should I say, tune into, another closed-timelike-curve of an alternate (Ouroboros) reality.

Some scientists do not see this as being impossible; although they point out, that if you could change the past via a time travel technology, you would not be able to return back to your own time. However, there was a time, when many scientists did not believe that time travel was possible due to their very linear perspective. But this is changing due to new technologies being developed, most of which are top secret. So, it is very possible that a future technology, around now, enables those humans as well as our evolved kin of humanoid alien looks to engineer alternate worlds, whom can freely travel between them in their time machines.

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Suffice to say, those whom utilise a time travel technology will also enable them to travel to the far distant stars within the blink of an eye, colonising other worlds, evolving into aliens of humanoid form; though all are your genetic ‘humanoid’ kin. Hence, your present civilisation is surrounded by another, which has time travel capability.

Do you think you would you be informed of their existence? Well, all you have to do is to look at a lost stone age tribe in the Amazon, who are unknowingly surrounded by your civilisation, to get your answer. Just see it in reverse, and then you will fathom what is going on. No, you will not be told outright. if at all, apart from the time travellers playing surrealist intelligence-test games in order to subversively educate your society for an unavoidable eventuality. Just like the lost Amazon tribes, their world is slowly being encroached upon by yours, and likewise your world is being encroached upon by another.

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Perhaps your society will never be told the whole truth, because of the collective reaction to the distinct possibility that your reality has been engineered as an alternate simulation, among many another.

There are numerous individuals who find it frightening that an artificial intelligence could become sentient, which would invariably outstrip human intelligence.

Yet they religiously yearn to contact another sentient species amidst the depths of space, as their angelic saviours, looking like Nordics, or to otherwise fear being invaded by demonic reptilians.

Should you have a time travel technology, it will heavily involve a ‘quantum computing’ artificial intelligence in order to handle the complexity of the alternate reality computations. Whereupon you would have an AI, which you could easily equate with a Cylon deity.

For example, how would the numerous followers of the Abrahamic faiths out of Ur react when to discover that their Abraham had been zapped by a time control signal from out of the future, which had spun his electron visions into siring three big-business cargo cults?

I don’t think that the Illuminati followers of Abraham will be able to accept that their beliefs have been manipulated as a means of social engineering through time. It is thereby unlikely that your society will be told anything, for a very long time. Wherefore you are faced with a nigh insurmountable wall of secrecy.

It is far easier and safer for your society to continue believing in Angels and Demons transformed into aliens, since it enables the brainwashed brains of many a branded brain to stay in their ‘bronze age’ safe zone New-World-Order of an Orwellian Eden, where ignorance is NSA Over-watch bliss. In other words, you are banned from eating a Red-Pill Apple.

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GOETIA GIRL STEAMPUNK SUCCUBUS ART MUSE VALEFOR

Posted in Art, Chaos Magic, CREATIVE WRITING, Goetia Girls, Horror, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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In an attempt to describe Valefora, the old magicians said she manifested as a roaring Lioness and then as a mad woman riding an ass. But Aaron C. Donohoo’s remote viewed drawing of this strange Succubus doesn’t make her look that way at all. Donohoo decided to utilise the sorcerer methodology of Faustus Crow in order to conjure Valefora into his lucid dreams.

What Donohoo experienced greatly surprised him. Valefora at first manifested, dressed as a quirky Victorian French maid, as Crow had described her.

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Valefora seemed to be like a most attentive female butler or a (Vale-t/for) valet. The Grimoires state that she makes a superb servant; although there are other, deeper levels of this Succubus, should a sorcerer conjure her as his familiar.

For example, the symbolism of the French maid refers to Valefora’s ability to access the minds (houses) of others without them realising it, in order to discover (clear out) hidden secrets.

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Valefora initially assumed the form of a most beautiful half-caste woman, being African and French, which of a manifestation seems to be associated with the motif of a Lioness in particular, though with felines in general.

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She said she was from New Orleans, who is highly versed in Voudon. But her secretive sidereal self is that of a Cat thief superheroine, dressed as a Steampunk Catwoman, who emanates from an alternate Victorian world powered by steam.

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Valefora seemed to be like a female version of a black-leather clad Robin Hood. She indicated that she thieves secret information from out of the dreams of the disgustingly rich theocratic fascists, whose patriarchal church of the deified ‘Animus’ made as a God/Devil, is built upon lies.

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The information she Cat thief steals from lying politicians, priests and other gangsters, who rule over the oppressive establishment is then revealed to the populace; for information is power.

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Much of the general populace survive amidst the squalid mind-slum of Londinium who are being used as unknowing slave labour within the plutocratic owned industrialist factories, whose country is essentially a fascist peeler state, which is the most spied upon in the whole world.

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It just so happens that Valefora’s Steampunk Britainia mirrors the present country of Orwellian police state Britain where there is 1 CCTV camera per 11 people.

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Over time, Valefora related her story via Ouija board divinations, who then manifested amidst Donohoo’s Triangle Of Art imagination as an eccentrically dressed young woman, as described by Crow. Although initially appearing as a half-caste girl, her ectoplasm features started to become more Exquisite Corpse indistinct of shifting ethnic types.

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She told Donohoo that her abode is an Arkham Asylum For Wayward Victorian Girls. All of these Wayward Victorian Girls are rebel metapsychic Witches who have been incarcerated by the patriarchal priests, whose fascist cult greatly fears their necromantic spiritualism. Hence the church has mass medicated the public water supply with sodium fluoride, in order to negate any psychic potential developing in the population, to seer beyond their symbolic Matrix of a Plato’s cave Asylum.

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Donohoo soon noticed that Valefora started to shift her Exquisite Corpse form into a Chinese looking woman, dressed in a schoolgirl sailor uniform of Victorian design.

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It was as if Valefora was comprised of differing split Exquisite Corpse personalities of a knit together Frankenhooker Mind Doll Tulpa, or that other wayward Asylum Succubae under Valefora were appearing in her stead.

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However, Valefora assumed a final form who looked remarkably like the artist Emilie Autumn, and like Emilie, Valefora plays a violin, which Crow had also described in regards to this Succubus.

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It was as if Valefora was assuming the form of Emilie Autumn in order to indicate who she really is, whose particular archetype has influenced popular culture. Whereupon, Donohoo had determined Valefora’s underlying characteristics by looking at the Emilie Autumn of this world, who is a world-class violinist, singer, composer, author, actress and an artistic genius, as well as being an anarchistic fashion icon.

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She is also medically classified as being bipolar, which just so happens, that the most common psychiatric diagnosis among those with extraordinary psychic skills is bipolar disorder. The list goes on of similarities with the Succubus Valefora, whose planetary domain is of the artistic Chakra sphere of Venus.

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The artist Emilie Autumn is very much of an eccentric paradox. She was born in (Lost Angels) Los Angeles, whose formal education had ended abruptly at the age of ten when, as a Violinist child-prodigy, she had been taken out her school to begin her life as a high level performer. Her self-published debut novel: ‘The Asylum For Wayward Victorian Girls,’ has been mentioned in text-books as well as being used as part of the psychology curriculum at Oxford University in Jack the Rippers London.

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Emilie’s historical knowledge, literary skill of poetic prose, which had been published during her early twenties, along with her astute ability as a unique singer with a dynamic and most colourful operatic range have been primarily self-taught; these being the three Triangle Of Art hallmarks of her influential Venus notoriety. A ghost of a George Orwell Chaos Magician, who is intrigued by her understanding of history, related: “Emilie seeks to understand the Past to thereby own her Present of artistic prowess; whereby becoming as a Seeress, who to seer a Future, she desires to make manifest.”

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Her works have also been utilised as the basis for the original works of New York’s Rochester Ballet Company, whose production scores were performed using Emilie’s spoken-spell-sung-words and teen-age Witch classical violin recordings.

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Emilie’s role as an activist for mental health care reform, as well as her outspoken views on gender equality, and animal rights have underlined her rebellious reputation as being a controversial young lady, who, like Valefora, unapologetically rebels against the fascist New World Order of the Animus fixated gangster elite.

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Emilie had originally intended to begin and end her Ouroboros career as a classical violin soloist and composer. But she gradually became aware that, in order to express herself completely as an artistic sorceress, she had to use her hypnotic voice as well as her nimble pentagram fingers. As soon as she opened her Siren mouth, screaming out her existence, she never kept silent.

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Emilie is now fully armed with a blitzing electric violin of an elemental weapon, a shockingly powerful mantra voice, as well as self-taught neuromancer skills as a digital programmer, creating her own simulated reality of Maya, who is able to record and produce her own multi-genre hyper-sigil albums.

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Emilie has also been made an official Witch representative for Steinberg’s Cubase, the industry leading digital recording and programming software of a viral meme, made manifest into flesh, who is becoming ever louder as a self made icon.

Then came Emilie’s literary creation, which entirely altered the course of her magical career, utterly transforming the ingrained perceptions of who she is within the coven minds of both fans and friends alike. Emilie published an illustrated autobiographical novel weighing in at nearly five pentagram pounds, entitled: ‘The Asylum For Wayward Victorian Girls’.

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It was first published in 2009 as a companion to her 2009–2010 North American, European, and Australian tour: The Asylum Tour. The fully illustrated book chronicles Autumn’s real life experiences in a mental ward after an attempted suicide, situated in this asylum world; while a doppelganger self of a young girl called Emily with a ‘y,’ is sojourning in an alternate Steampunk reality of a Victorian England, who is also admitted into an insane asylum.

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The tome’s contents was derived from Emilie’s real-life diary entries. Her story begins with Emily’s suicide attempt and prompt imprisonment within the rotting guts of an Arkham asylum. She spares no detail of personal experience. Emilie shows her reader what exactly went on within her Asylum house of horrors. Many mental institutes still utilise Victorian methods of continuance, up to the present.

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But what do you expect, California practiced eugenics, where many a considered undesirable lost Angel were forcefully incarcerated within Asylums and then sterilised, up until the late 60’s. If you don’t believe it, check out War Against the Weak: Eugenics and America’s Campaign to Create a Master Race by Edwin Black. In Emilie’s book, she reveals of personal experiences dark Asylum secrets, which the general public would prefer to sweep under their hypocritical church altar.

Emilie’s book appears to have inspired the film, entitled: Sucker Punch, which is a 2011 American fantasy action film directed by Zack Snyder and co-written by him and Steve Shibuya. It is Snyder’s first film, supposedly based upon an original script going by Snyder.

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The film stars a fifth element actress who, just so happens, is coincidentally named, ‘Emily’ Browning, and her four elemental sisters, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung and Carla Gugino. Basically, the principle character is somewhat like a Western Alice in Wonderland version of the Mongolian Utagan/Utygan (female shaman) called Nishan, whose speciality of practice is that of a (black shaman) Khara Kam, who is highly versed in the (underworld journey) Dolbor ritual.

The storyline follows Emily’s shamanic trance journeys into alternate Matrix realities. Of course, Emily is acting the part of Sweet Pea, who is committed to an infernal mental institution. She attempts to escape the Orwellian hospital before suffering a lobotomy; while the general public are unknowingly suffering the same Orwellian fate, due to being mass medicated with sodium fluoride, which is calcifying their pineal glands.

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Sucker Punch drew a lot of criticism from the political correct mind-set of the heavily fluoridated for its depiction of women. Several deadened pineal critics described the movie as being misogynistic; whereas blinded others expressed their concern over its treatment of sexual violence. But then, it was made by a male, to easily crucify. However, in all likelihood Snyder was inspired by Emilie Autumn’s real life experiences, which would shock the critics mouths shut.

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There are many similarities between Emilie Autumn’s autobiography and Sucker Punch. Emilie’s tale takes a surrealistic turn of events, when she is still in the psych ward, who discovers evidence of a parallel universe within which there is another Earth, the out of body traveler, Robert Munroe would describe as locale III, which of an alternate world, very soon becomes indiscernible from Emilie’s own reality.

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As the padded cell days drift by, the seemingly separate worlds of the story’s two lead characters, Emilie and that of her Victorian Steampunk Daemon sister begin to entirely merge. This leaves the reader, as well as the book’s genius, rather confused as to whether the accounts are truly autobiographical or whether Emilie has managed to seamlessly Skinwalk from her present world personality into her alternate world self as a World-Walking Skinwalker via an inner Da’at portal.

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What is quite curious, is that Robert Munroe also spoke of sliding into the corporeal frame of another self, who existed within an alternate reality, when to have shifted his consciousness towards the back of his infernal Qoph head, where the alternate world technology is based upon steam power.

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Donohoo to thereby theorise that there is indeed an alternate Steampunk reality just next door to our own world, and that Valefora knows how to travel between realities like a void-going Steampunk Dakini.

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Many of the readers of Emilie’s mind-bending psychological thriller who are presently living amidst an Asylum of this world consider her story to be a profoundly empowering Ouroboros tale of mental suffering, elemental sisterhood, and eventual Karmic revenge. Emilie’s story culminates in what has been called one of the most suspenseful Sucker Punch cliff-hangers of all time.

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Emilie has held hundreds of ritualistic book readings and performed séance scenes from her-self created Grimoire across Europe and the United States.

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Emilie’s viral meme self has manifested on Leno and Letterman as part of Courtney Love’s former band. She has also appeared on glossy magazine covers, such as Bizarre, throughout the world of a Goth icon, as well as attending ritual spots on albums by such artists as Love, Otep, Billy Corgan, and TV’s ‘Metalocalypse’, of a self made hyper-sigil. She also had a starring role as the Exquisite Corpse ‘painted doll’ in the musical film phenomenon of Darren Lynn Bousman’s (SAW II, III, & IV) ‘The Devil’s Carnival.’

Whereby, Dononhoo has deduced that under Emilie Autumn’s lacy corset, is the Succubus Valefora, who seeks to bust out of her feline cage. Hence, Emilie Autumn is no ordinary rock singer, she is a self created Tulku.

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Should you look closely at Donohoo’s drawings of Valefora inspired automatism, they depict what appears to look like some kind of Tesla time machine in the distance, looking like a wheeled throne, which Valefora rides as her Montauk ass of a hospital wheelchair.

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Like Emilie Autumn, Valefora’s familiar is a Rat, whose quantum tunnelling intuition knows about the infernal sewers connecting alternate worlds, which tend to flood with bipolar liquid light during the full Moon. But then the gravity of other worlds has to go somewhere of a tidal flux.

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Another name Valefora to have is the, Rat Witch. The Rat is very much an animal of Mercurial thieves; for it takes a thief to catch a thief. But the Rat is more so an animal of wounded survivors, becoming as Mercurial Shamans, since the Rat survived the catastrophic fall of the blindly repetitive dinosaurs. She has been considered to be among the most bizarre and little known Succubae over the Grimoire years, and consequently not much has been written about her until now.

Yet she was chosen by the ancient shaman Wodkhan from among the thousands, if not millions of Succubae Tulpa Mind Doll legions to be included in the ‘Anima’ list of 72 Goetia Girl archetypes, who are subdivided into four primary elemental groups of 18, which in turn, of two groupings, of 9 each, are associated with the enneagram of archetypal personalities. Thus Valefora obviously has powerful archetypal qualities to be considered by a conjuring Sorcerer Artist, who is as ferocious as a Lioness and works hard as an Ass for him.

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It is said that Valefora was an actual woman and that Wodkhan sought to save her soul, after she had committed suicide, in order to bring her back to life; whose lost soul wandered the infernal spirit world of a ‘meanwhile’ place outside of time. Whereupon Wodkhan entered into the death trance to find her. But in so doing, Wodkhan soon discovered that he had actually taken his own life, and she was the one seeking him. This tale is somewhat like the Sumerian Goddess Ishtar, who sacrificed herself into the underworld trance to save her lover Tammuz; but will Tammuz remember her? Should Tammuz not remember, Ishtar to suffer great pain, until she heals her wounded heart, of ‘shamanic’ artistry; whereupon Ishtar becomes a… Shaman.

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The multiverse world tree of Yggdrassill is a strange place indeed; in this world of a Midgard Asylum you have Emilie, in a world next door, you have Emily, and in yet another world you have ‘Emilia.’

The ‘Sucker Punch’ of this, is, all these worlds, including your world are as Maya simulations, which ever repeat of Eternal Recurrence; there is no escaping the encircled Asylum of Midgard. You may believe you are escaping the pointless madness of it all when to take your own corporeal life via the noose, taking pills or of slashing razor blade etc; but there is no escaping ‘your-own-self;’ even when to forget, because you end up repeating everything, over and over again of a leaden Jormungand cycle.

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The only way out is, to remember, not to repeat, to do things another way; whereupon a survivor often turns to Art, of symbolic alchemy, in order to survive the Asylum of a world. The practice of Art is indivisible from Sorcery; wherefore you win your Ouroboros Torc of gold engraved with Runes, out of Hela’s domain.

One old Grimoire related that Valefora is associated with the 6th Rune of Cen along with two other Succubae; for each of the 24 Runes house 3 Succubae (Valkyries) per Rune. Cen means: torch, as in, an inner fire, which alludes to the (bio-photon) light quality of the electron dream.

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The Cen Rune is usually associated with artistic creativity in Rune readings, which is very much the case concerning Emilie Autumn’s artistry, who has inspired Zack Snyder’s Sucker Punch, Gerald McMorrow’s film, Franklyn and numerous others as a Steampunk Art Muse. Valefora has been called other names, including Valafara, Valefara, and Malaphara. As an Emilie Autumn, Valefora is a Duchess who governs over 10 legions of wayward Victorian girls out of a Goetia Girl Asylum.

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Johann Weird, who seemed to view this Succubus as a sacred trickster, wrote that Valefora comes forth: “in the shape of a fearsome Lioness and the head of a ghost woman, she comes from a rough place of unfeeling, hellish iron monstrosities belching fire, smoke and steam of industrie. She becomes verie intimate with a sensitive sorcerer, to whom she maketh herself wantonly acquainted, till she hath brought him to the Da’at suicide gallowes of nightmare ridden insanity. If the sorcerer shouldst fear her, he will most surely hang. But if he does not to fear her, she takes him backwards of Odin’s self-sacrificial noose of trance, over the Ygg abyss, within her lightning, throne of a chariot to her world, knowing wonders and terrors, ever repeating of Ouroboros. She also produces dream apports of artistic treasures out of the aire, stolen from faraway places, and other times should her master desirest it so. But she only thieves from those who are blind abusers of their riches in this world, who are unaware that they are living within a dream, she to see, singular of eye.”

Seagreave describes Valefora: “she is highly skilled in the arts, who enables her master to access the surreal dreams of others.”  Valefora will always counsel accessing the dreams of others even when it involves remote viewing companions and friends of (extraction) information gathering. But such is to be primarily used for healing purposes, just as a Shaman uses lucid dreaming to retrieve lost souls. She cannot be broken of that shamanic habit, no matter how she is bound. Her advice will tend to be persuasive; for she will reveal that the true nature of genius, is the ability to access the collective mind, to thereby (Inception) influence via conjured archetypes stirring subconscious dreams, to heal. But such viral meme power of artistry, can of course be abused. Valefora is very much aware of this power, because she is an artist and a musician who has a seductive, singing voice; though, having a very eccentric manner;” the Seagreave report to state.

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Whereupon, Donohoo sees Valefora as being a sacred trickster, who knows how to mould your dreams, as a shaman would do, by shocking your cultural sensibilities of indoctrinated perceptual limits, to seer beyond, into other potential realities. Wherefore a Valefora Emilie Autumn, is a Babalon… Steampunk Shaman.

The Psychic Übermensch Aaron C. Donohoo by Erin C. Donohoo (2012)

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