“The Thirty-Seventh Succubus archetype of the Fallen Anima, who is an Art Muse of the Surrealist Goetia is Phenex (or Pheynixi).” (Art Print Available from Saatchi Art. Click the Images to see the Full Artwork.)
“She is a great Marchioness, and appears like a bird, called a Phoenix, at first of a fiery vision, having the same characteristics and voice of a Wednesday Addams.
It is said, she sings of many arcane things, whose clairaudient songs conjures up associative imagery amidst the Triangle Of Art Imagination of the conjuring Surrealist Artist, which he/she must not regard; otherwise his/her mind will most assuredly be swayed from his/her Paranoiac Critical Method.
But by-and-by the Surrealist Artist must bid her put on human shape of a visualisation, who will then appear as a ghostly Goth Girl Ballerina, whose favourite Witch days are (Wodensdaeg) Wednesday and (Freyja’s-day) Friday.
Then she will speak marvelously of all wonderful Arts, which be hidden away of secret subconscious information, if required, when engaging with her visualised archetype, of an active imagination exercise.
She is a Surrealist poet, good and excellent as an inspiring Muse. And she will be willing to perform all the visualised Art model contortionist requests of the conjuring Artist.
She hath hopes also to return to the Seventh dimensional Throne as a bullet Witch Valkyrie after 1,200 years more, as she said unto the Sorcerer Artist, Austin Osman Spare.
She governs over twenty ghost Legions of Art Muse Witches like herself. And her macrocosmic two-dimensional abstract Seal is to be meditated upon before conjuring her three-dimensional manifestation into a microcosmic lucid dream.”
Goetia Surreal – S. L. MacGregore Freemason Matherson, Locale III, alternate Earth, Paris.
If you are interested in seeing the Full Artwork ‘PLEASE CLICK’ The Image Above and each of the Images Below. The fourth Succubus archetype of the Fallen Anima is mantra named, Samigina.
She is a great Marchioness emanating from the ninth planetary sphere of the menstruating blood Moon, whose bloodied eye of a ninth Art illuminates the astral smog enshrouding Londinium’s bandes dessinées.
Samigina at first appears within a vision as a Steampunk Goth girl, looking like Alice in Wonderland, who might be seen to be riding a Sleipnir rocking horse, which is tethered to the multiverse world tree of her Yggdrassill seal of an easel, interpenetrating the clockwork globe of the Earth. She is considered to be of shamanistic Sami descent whose name means: high (elevated status) Queen.
She speaks with a most seductive clairaudient voice, who teaches all arcane sciences and Arts, when conjured within a lucid dream, who is a surrealist Art Muse.
It is also said, that she gives Ouija board accounts of those Artist’s spirits who reside within the surrealistic Arkham Asylum realm of the purgatorial Moon, whose domain the ancient Sumerian’s and Babylonian’s associated with their deity called… Sin.
One of these discarnate spirits is that of Walt Disney, who had immortalised weird Alice Samigina as an Aryan blondie; but then, what do you expect, he was enamoured with Nazi Wernher von Braun, who had fathered NASA, sending his Valkyrie inspired V2 rockets to the Moon, which to have duly ushered in the Star Wars Empire Neuordnung.
Disney had quaintly forgotten that Braun’s V2 rockets had prior blitzed Lewi’s Carroll’s Londinium, along with his V1 flying buzz-bombs, who had also been commissioned by eugenic Hitler to blitz New York with a dirty Nuke, topping Braun’s intercontinental missile of a V3.
Samigina governs over 30 legions of Succubi Art Muses like her Alice In Wonderland self, who as a Steampunk Art Muse inspires the creative March Hare ‘madness’ of the Paranoiac-Critical Method, which is a surrealist technique that was developed by Mad Hatter Salvador Dalí during the early 1930’s, who to have famously said: “I do not do drugs, I am drugs.”
Artists often engage themselves in the ‘derangement’ of their senses in order to mutate their perception, to thence attain another inspired perspective.
One example being Salvador Dali, who developed a surrealist technique of creative derangement, he termed as the paranoiac-critical method during the 1930’s. (The watercolour painting above depicts Mesphistophina. Click the image or here for further details.)
However, Dali’s paranoiac-critical method has been utilised by shamans for ages, whose psychonaut techniques of lucid dream inducement involved the creation of dream characters, a Tibetan Buddhist would term as being Tulpas.
I am aware that a number of dry scholars have pompously pointed out that the word Tulpa is a misinterpretation of the Tibetan term, Tulku, which is essentially a self-constructed Avatar. However, when assuming the alternate guise of a Tulku within a lucid dream, it is like that of an actor playing a part in a film, whose other supporting characters are Tulpas, who reflect back the assumed guise of a constructed Tulku.
For example, if you assume the Tulku guise of Vincent Price, you might just find yourself having a dream of being in a horror film, whose other actresses and actors are Tulpas. Why would you assume the guise of Vincent Price, you might ask? Well, it may be because you seek to empower your acting ability, should your profession be that of an Actor; or to otherwise assume the guise of Austin Osman Spare, if you are an Artist.
Perhaps you might decide to fuse these influential personages together with Henry Miller, to thereby create a Tulku; and like a time-travelling Doctor Who writer would do, whose TARDIS brain to travel around the Succubae Decans of the Zodiac ages, you can also imaginatively assume the star-sign guise of Vincent van Gogh.
Should this sound rather ‘deranged’ to you, consider the intriguing experiments conducted by Vladimir Raikov who is a Russian psychotherapist, head of the Laboratory for Hypnosis at the State Scientific and Research Centre for Preventive Medicine. In general Raikov hypnotised his subjects to believe that they were the reincarnations of Rembrandt or Mozart, etc.
Evidently after a period of doing this, his subjects brought back from their induced trance state the abilities of the personages with whom they had identified. For example, someone who had identified himself with Rembrandt had awakened his or her own artistic ability to eventually make a career out of Art; others may prefer to identify themselves with Aleister Crowley.
“There is also a third kind of madness, which is possession by the ‘Muses,’ enters into a delicate and virgin soul, and there inspiring frenzy, awakens lyric….But he, who, not being inspired and having no touch of Madness in his soul, comes to the door and thinks he will get into the temple by the help of Art–he, I say, and his poetry are not admitted; the sane man is nowhere at all when he enters into rivalry with the Madman.”
― Plato, Phaedo
If you consider all of this to be quite mad, keep in mind that children subconsciously learn from any influential role-models around them. Raikov’s technique is just an adaption of what children naturally do. However, the barriers of accumulated belief of an adult, blocks him or her from fluidly learning as a dreaming child. Hence, the beliefs of an adult requires the need to be broken down by believing that the assumed persona is a reincarnation, even if it is an artificially constructed Tulku, which could just as well be that of a future incarnation.
However, you do not need to be hypnotised by another individual, such can be potentially very dodgy; you can attain the same experience via lucid dreaming, which of dream Yoga, will enable you to assume a desired guise of a particular Tulku.
A Tibetan Buddhist would otherwise assume the Tulku guise of one of his many Buddhas via meditative and auto-hypnotic (trance) practices, in order to empower his spiritual progression. You will also find that each Buddha is depicted copulating with a female representing the power of a corresponding dream domain, who is termed as being Shakti, Carl Jung would call the ‘Anima.’
The Anima can manifest as differing female characters, each of which can be seen to be a female Tulpa, who empowers a corresponding Tulku.
The female Tulpa can be ‘artistically’ constructed as a mind-doll means to empower lucid dreaming, which a Tibetan Tantric Buddhist would call a Dakini.
Although the medieval mind-set of the West, a Dakini is otherwise called a Succubus, the prior ancient Greek’s knew as a Muse, who to remind that Art is Sorcery, Sorcery is Art, they are indivisible from each other, one and the same of shamanic practice.
When to see a Succubus as a constructed Tulpa, it is none too different to a computer program, like that of a web-bot browsing your informational dreams, which then initiates a virtual reality lucid dream, created by your quantum computing TARDIS brain.
The Succubus has lost its deeper meaning since the medieval mindset of the West has castigated sexuality and the feminine principle out of the spiritual equation, whereupon becoming purely demonic of hedonism, having no meaning whatsoever beyond that of blindly copulating.
The male counterpart of a Succubus is an Incubus, whose ‘Animus’ manifestations of God, Devil, angels and demons are commonly listed in many a Grimoire, who are known as Daka in Tibetan Buddhist dream Yoga practice.
The reasoning behind the focus upon a (Dakini) Succubus is that of introverting the sexual impulse in order to overcome what is technically termed as the Old Hag Syndrome, when accessing the hypnagogic state of trance, at the point of sleep. The hypnagogic state and the ensuing sleep paralysis can be quite terrifying, which of Bedroom Invader nightmare terrors can be otherwise transformed into a Night-Mare Succubus to ride into conscious dreaming.
This can be achieved when the sexual impulse is introverted, via a prior meditation upon an erotic image of a particular Succubus, in order to negate the fear of the practitioner; for it is the reactive state of fear, which makes the experience of hypnagogic trance so horrifying.
FAUSTUS CROW 