Archive for samigina

ALICE IN OCCULT WONDERLAND

Posted in Art, Chaos Magic, fantasy, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 1, 2018 by FAUSTUS CROW

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.”

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HORROR MUSE ALICE SAMIGINA OF NECRONOMICON WONDERLAND

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Manga, Poltergeist, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 28, 2016 by FAUSTUS CROW

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The above Artwork is A4 in size, drawn in pen-brush and ink pen, on heavyweight cartridge paper. which was then coloured, using Derwent and Prismalo Caran D’ache watercolour pencils. The Artwork was then Painted. The watercolour painting is provisionally entitled: The Conjuring Of Wyrd Alice Samigina.

The original Artwork of Samigina is presently on Sale, on Saatchi Art. If you are interested, Please Click Here. 

The Artwork depicts an alternative version of Samigina, otherwise called Gamigin who is listed as being the fourth spirit in the Grmoire, entitled the Goetia.

“The Fourth Succubus of the Goetia is Samigina, a Great Marchioness. She initially appears in the form of a My Little Pony Princess Luna, amidst the Triangle Of Art Imagination, likened to a rocking horse or that of a latex clad Girl on all fours looking like a fetish hobbyhorse.” 

“And then appearing as a Gothic Alice In Under-Land, she to change herself into at the request of her Mad Hatter of an Ansuz Rune Art master.” 

“She speaks with a seductive voice, having Cheshire Cat feline wiles, loving spilt cream of an offering. As a Vajrayogini She rules over 30 Legions of Succubae Lost Girls, the writer, Alan Moore and the artist Melinda Gebbie to know all about of Tantric archetypes, who populate the informational realms of the collective dream, as knit-together Tulpa programs.” 

“She teaches all Arts as an Art Muse, who to guide her master through her Yoni looking glass of an inner wormhole into surrealist wonderlands of the dream. And she gives account of those Artists who broke through Ring-Pass-Not sexual Taboos, such as Hans Bellmer, Balthus, Stu Mead, Mark Ryden, Trevor Brown and Milo Manara, etc, whose artistry is considered to be Entartete Kunst sinful; though enticing many a quantum computing brain into a Luna Art gallery, which to also exhibit Ninth Art underground comics of symbolic alchemies, stirring virtual reality dreams.” 

“And her abstract Manga Seal of the multiverse world tree of an Artist’s easel, to which she be tethered and bound, is to be meditated upon, before the Sorcerer Artist conjures her ‘Anima’ fluctuation into his Surrealist dreams, wherein he becomes as her Anime Invocator, etc; though, two-dimensional of meditative image, she manifests as a three-dimensional interactive reality within a Cool World lucid dream.” 

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ALICE MADNESS RETURNED

Posted in Art, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Psychology, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 22, 2015 by FAUSTUS CROW

For many thousands of years the Fourth spirit of the Goetia, known as Samigina has been constrained by the ‘Animus’ fixated magicians of Solomon, into the brazen form of an ass, or some to say that of a little phallic horse, which to have been missionary ridden by their prophets; such as bisexual Aleister Crowley for example, who illustrated his Boleskine conjurations of Samigina, having an erection.

However, this spirit has since been released from its binding ‘Animus’ vessel to now take on its original Great Old Ones form as a Succubus, who holds the ‘Anima’ rank of a surrealist Marchioness.

Soon after Samigina has been been conjured, she manifests as an archetypal Witch girl, looking like a grown up Alice Liddell, whose Gothic madness has returned.

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That, or she to appear as an infernal blond haired girl-guide into Hippie land psychedelia, who is rebelling against conservative Disney. But what do you expect; Sorcerers Apprentice Disney was very buddy buddy with Aryan Wernher von Braun, who was instrumental in setting up the N-azi A-ssisted S-pace A-gency.

Now Disney has got buddy buddy with Marvel, of a controlled media machine; for via the practice of art, the archetypes can be manipulated, by whoever is in control, to thence subversively manipulate the collective unconscious ‘internet’ of the mass populace.

Hell! What’s new, religion has been doing that neuro-advertising shit for ages. Suffice to say, Samigina will reveal how your perception of reality can be socially engineered through the arts, which be indivisible to sorcery, of a most ancient practice.

Those who create Art, are the Sorcerers, who practice magic; whereas those who blindly worship their creations, just indulge in a religious sentimentality, who do not know what magic is.

Wherefore, should you be a Mad Hatter Artist, you may find, when to conjure Samigina amidst your Triangle Of Art imagination, that she speaks with a seductive clairaudient voice, caressing the folds of your fluoridated brain, of a vividly imagined interaction; prior to her reviving your calcified third-eye, when she to teach all the creeper surrealist arts within your ‘browsing’ lucid dreams.

She also gives Ouija board accounts of automatism concerning those rebellious March Hare Artists, who have passed over into the surreal ninth dimensional Wonderland of Entartete Kunst Luna, the Sumerian’s once considered to be ruled over by their white Rabbit Moon God called, Sin, enthroned atop of an Ur ziggurat. She governs over 30 Legions of Inferior Succubae archetypes of the Fallen ‘Anima,’ like unto her Art Muse self.

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ALICE OF NECRONOMICON WONDERLAND

Posted in Art, Comics, Cosplay, Discordianism, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 5, 2014 by FAUSTUS CROW

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The fourth Succubus archetype of the Fallen Anima is Samigina, or Gamigin. She is a great marchioness of the fourth Rune, who is listed in the Goetia. She emanates from the ninth (dimensional) planetary (Yesod) sphere of the Moon. She at first appears looking like a Steampunk Alice in Wonderland riding a Sleipnir rocking horse, which is tethered to the multiverse world tree of her Yggdrassill seal, interpenetrating the globe of the Earth. She is of Sami descent whose name means: high (elevated status) Queen.

She speaks with a most seductive voice, who teaches all arcane sciences and arts, whom is a surrealist art muse. It is also said, that she gives Ouija board accounts of those spirits whom reside in the surrealistic realm of the Moon, whose Wyrd domain the ancient Babylonian’s associated with their deity called Sin. She governs over 30 legions of (Succubi) Succubae.

Samigina as a Steampunk Art Muse inspires the creative ‘madness’ of the Paranoiac-Critical Method, which is a surrealist technique that was developed by Salvador Dalí during the early 1930s.

Dalí employed its shamanistic methodology when producing his paintings and other artworks of Goetia W-underland genius.

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Especially those, which involved optical illusions and other multiple images, which of a similar Paranoiac-Critical Method, you can imagine Samigina Wyrd Alice asking a creeping Gnat to demonstrate Dalí’s technique.

“All right,” said the Gnat, “half way up that bush, you’ll see a ‘Rocking-Horse-Fly,’ if you look. It’s made entirely of wood, and gets about by swinging itself from branch to branch.”

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Samigina acted confused; but she wasn’t really befuddled at all, she’s crafty. “Let me explain further, sweet Samigina,” the Gnat continued. “The surrealists related theories of psychology to the infernal processes of subconscious driven creativity and the production of Art, which is indivisible to the practice of Sorcery.”

“During the mid-1930s André Breton wrote about the ‘fundamental crisis of the object.’ The object began being thought of not as a fixed external object, but also as an extension of our subjective self.” Samigina looked bright eyed at the Gnat, to then beg the question, “What does it live on?” She asked with great curiosity.

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“Food of course, you silly little Rune sprite,” the Gnat answered. But she’s just being tricky, Samigina Wyrd Alice is well aware that one of the types of ‘food’ objects manifested in surrealism is the ‘phantom object,’ such as dancing flames, ink spills, scribbles and cracked pavements, for example.

The Gnat explained further, “according to Mad Hatter Dalí, these objects have a minimum of ‘linear mechanical’ meaning. But when viewed by your mind it evokes ‘phantom images,’ amidst your Triangle of Art imagination, which are the result of instantaneous subconscious associative correspondences.”

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“The Paranoiac-Critical arose from similar surrealistic experiments with psychology and the creation of images, such as Max Ernst’s frottage technique.”

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Samigina then interjected, “Ernst’s technique involves rubbing pencil or chalk on paper over a textured surface, and interpreting the phantom images visible in the texture on the paper.” The Gnat, didn’t look too impressed, “these be all two-dimensional, ‘sap and sawdust,’”said the Gnat, “since you think yourself surreal, go on with the list.”

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“Alright Gnat, don’t get your wings all twisted up into a Gordian knot!” Samigina answered, who continued with her list, “the aspect of Paranoia that Dalí was interested in, which helped inspire his shamanic method of a technique is the ability of your brain to create ‘associative correspondences’ between things of the illogical.”

“Even though they are not rationally or logically linked. Dalí described the Paranoiac-Critical Method as a: “spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena.”

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Samigina then looked up at the Rocking-Horse-Fly with great interest, and made up her mind that it must have been just repainted, it looked so bright and sticky; and then she went on. “And there’s the Dragon-fly.”

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“Yes; of course Samigina, what a very surreal Valkyrie you are,” the Gnat answered, to further explain. “Employing the Paranoia Critical Method when creating a work of art uses an ‘active’ process of your imagination to visualise separate images, such as a Chinese ‘dragon’ and a household ‘fly’ in your work, to thereby incorporate these apparently disassociated objects into the final product of a sharp pointed fusion.”

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“An example of the resulting work is a ‘Double-Image’ or ‘Multiple-Image’ in which an ambiguous Image can be interpreted in different ways. André Breton hailed the method, saying that Dalí’s Paranoiac-Critical Method was an: “instrument of primary importance” and that it; “has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis.”

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“The technique can of course be applied to occult practice, when to rebelliously visualise the grimoire spirits to be otherwise Succubae, without indoctrinated limitations. However, the methodology its self is nothing new; shamans have been utilising split-screen-vision perception to sorcerer seer into other multiverse world tree realities since the dawning of humanity.”

“But it does require you to perceive in a different way. Look on the branch above your head,” the Gnat continued, “and there you’ll find a snap-dragon-fly. Its body is made of plum-pudding, its wings of holly-leaves, and its head is a raisin burning in brandy.”

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Samigina looked up at some spectral object; while the Gnat went on to explain. “Critical Paranoia is a method of establishing a creative state of self-induced psychosis, which initiates the hypnagogic state of trance.”

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“Consider the process as being akin to forcing a waking dream; a conscious transformation led by paranoid scrutiny of what presents itself in the surroundings.”

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“The simplest version, hardly critical, hardly paranoid, begins with a child’s daydreaming game.”

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Samigina started to stare into banks of clouds, looking for the chariot riders, along with giants populating floating islands and other phantasms of tortured humidity, whose associative snap-dragon-fly reasoning needs to be fed, “and what does it live on?” She to again enquire.

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“Frumenty and mince pie,” the Gnat replied; “and it makes its nest in a Christmas box. And when to open the Pandora’s box of your Imagination to set it free of its indoctrinated larvae of beliefs, you can thence utilise elementary exercises.”

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“Such Avadhuta exercises involve practicing prolonged staring at ink blots and scribble drawings, which will generate an array of Heyoka optical illusions.”

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“A sketchbook is handy for this enterprise, which often sell themselves in many a new-age shop, as self-help manuals, which are fluffily designed to prove that you are on your depressive way to a happier existence as a Caterpillar. But then, you’ll smash through any artistic blocks with your inspiring lucid dream visitations, won’t you, my dearest Samigina.”

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She to widely smile, and said, “of course I will,” to then sweetly say, along with her hair suddenly turning blond. “And then there’s the Butterfly,” Samigina went on, after she had taken a good look at the insect with its head on fire, and had thought to herself, “I wonder if that’s the reason insects are so fond of flying into candles—because they want to turn into snap-dragon-flies!”

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Then Samigina imagined Snap-dragon-flies flying around a Mad Hatter’s head of an Artist, all aflame; while he walks those crumbling cracks in the sidewalk, which look like an outline of the West coast of Mexico.

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In fact those cracks in the sidewalk are indeed the West coast of Mexico. “Can’t you seer it buddy? No doubt about it, that’s for sure.” Samigina to have Muse whispered into the Mad Hatter’s left ear.

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“And those Ants are all tourists in the middle; they are eating up the Yucutan of an asteroid wound, remembering the demise of the dinosaurs; to be later followed by the invasion of the dark haired pony-girls from Spain.” Samigina to say upon a clairaudient giggle.

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“I’m a Samigina Wyrd Alice of hitched up skirt, manifesting within your surrealist dreams, becoming one with my hop-scotch rocking-horse galloping across Panama, leaving red menstrual smudges all along the Pacific; ensnaring all within my coquette skipping rope, for my conjuring Artist.”

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“Your advancement of Mad Hatter practice will invariably find the Spielberg poltergeist intricacies of my television static a delight to behold. The onset of migraine headaches a resounding flourish to perceive such things.” The Gnat decided to cut in, “Crawling at your feet,” said the Gnat (Alice drew her feet back in some alarm), “you may observe a Bread-and-Butterfly. Its wings are thin slices of bread-and-butter, its body is a crust, and its head is a lump of sugar.”

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The Gnat continued, “there are no preconceptions, no paranoia to influence what you perceive. The careful acquisition of Critical Paranoia requires continued practice until it becomes a part of your bread-and-Butterfly subconscious way of thinking. But you may ask your Mad Hatter of a conjuring Artist for further insights, you to inspire as his conjured Muse, rather than asking any more questions of myself. Samigina decided to otherwise ask the Gnat, “and what does it live on?”

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“Weak tea with cream in it.” The Gnat to answer. “My egg of an ego may have been cracked by you asking your Mad Hatter Artist rather than me; but what’s another cracked egg; I will just ramble on. After you have indulged your fill of weak tea, to bloat of bladder, find a bathroom with tile floors and subdued fluorescent lighting. Masonic bathroom tiles one half inch by one half inch are far preferable. Those tiles with the speckles are the type to spy out with your split-screen vision.”

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“Find an empty stall within your Beehive lodge and sit on your throne of a toilet. Sit so you are comfortable to 33 Degree Freemason crap out weapons of mass destruction over Babylon. Stare at the floor in front of you, through the bottom edge Da’at gap of the closed stall door. Ritualistically stare until columns of tiles oscillate rapidly back and forth like the changeable Gimel dunes of the desert sea; chaotically at first, but more rhythmically in passing.”

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“Move your Illuminati eye towards your feet to perceive rows of tiles, liquidly moving of crashing waves against the columns of a now warped Masonic chessboard. Observe the speckled patterns for amphibious Nommo insights, so as to determine the Anunnaki flux of evoked subconscious images. These images, all as Queen Bee Succubae, will erupt forth Through the Looking Glass Triangle of Art, at whose trance centre the Sirius star third-eye imagination will seer their bio-photon G-string Bunny-girl manifestations.”

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A new difficulty came into Samigina’s head. “Supposing it couldn’t find any weak tea?” The Gnat to have answered; “remember what Mad Hatter Dalí said, my dear Samigina; I quote: “Paranoia makes use of the external world to impose the obsessive notion with the disturbing particularity of making valid the reality of this notion for others. . . The reality of the external world serves as an illustration and a proof, and is put in the service of the reality of our mind.”

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Samigina stared, looking at the Gnat, quite entranced, as it was slowly evolving into a bug eyed alien Grey out of a neo-Gnostic newage UFO pantheon; while doing so, the Gnat continued; “Breton also said: “It is a question of speculating ardently on that property of uninterrupted transformation of any object on which the Paranoiac activity seizes; in other words, the ultra-confusional activity which takes its source in the obsessive idea… This uninterrupted transformation permits the Paranoiac to regard the very images of the external world as unstable and transitory, if not as suspect, and it is, disturbingly, in his power to impose the reality of his impression on others. . .”

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“What I am trying to tell you my sweet Samigina is that, if you do not exercise your innate childlike ability of Critical Paranoia perception, which you to naturally know, that shamans have utilised for aeons…” the Gnat, suddenly Howled. “Then it would die, of course.”

“But that must happen very often,” Samigina Wyrd Alice remarked thoughtfully. “It always happens,” said the Gnat.

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The Gnat to continue, “such to happen when the Art of Magic is habitually tethered to a religious constraint of a tradition. For example, a Satanist see’s Satan as a rebel of a horned Devil, to glorify as a Biblical Luciferian Angel; when in fact he was the first Mad Hatter Artist of a horned shaman.”

“Oh! I now seer,” said Samigina, to then say. “So If a religious sentiment is indulged in of thesis or antithesis, the practitioner is not practicing the fluidity of Sorcery, but instead practicing a static religion. Whereby validating its symbolic Matrix of constraints. These types of individuals will invariably consider those who exercise their imaginative freedom of rebellious (synthesis) Yesod artistry to be Entartete Kunst, ‘SINFUL.”

(Quotes: Lewis Carroll’s, Alice’s Adventures ‘Through The Looking Glass’, Chapter III)

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NECRONOMICON OUIJA BOARD OF THE ARCHETYPAL GREAT OLD ONES

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW
The Ouija Board designs are removable, individually die-cut vinyl stickers, which are ideal for smooth flat surfaces, such as cut to size MDF boards topped by a sheet of perspex or glass, should you be using a planchette, etc. The design depicted above is for the 56th Fallen ‘Anima’ Archetype of the Goetia called Gremory, which is 356 x 299 mm in size. The designs are available from my Redbubble shop, should you be interested, Please Click Here, or Click “The Art” for further details.

The largest design size available for the vinyl stickers is: 356 x 299 mm. Smaller sizes are also available. Please Note, there is also 1/8th” (3.2mm) white border around each design.

The design depicted above is for the 32nd Fallen ‘Anima’ Archetype of the Goetia called Asmoday, or Asmodaya, which is 356 x 299 mm. 

Once you have carefully affixed the chosen design to a prepared board of your choice, by making sure no troublesome air bubbles arise, a pendulum can then be used, which will swing to each letter when a question is asked of a conjured Fallen ‘Anima’ Archetype of an Art Muse amidst your Triangle Of Art Imagination.

The operative methodology here is Art, which employs the shamanistic technique of Surrealist Automatism. Basically it is a method of creating Art. This involves the conjuring Artist being able to suppress his/her conscious control over the creative process, allowing an Archetype of an Art Muse who is being conjured out of the unconscious mind to have greater influence over the sway of the pendulum around the Ouija board design.

The design depicted above is for the 55th Fallen ‘Anima’ Archetype of the Goetia called Orobas or Orobassy, manifesting as a Pony-Girl, which is 356 x 299 mm. 

Of course you will need a pendulum, which can be easily created by using a piece of string with a simple weight at its end, which can be made more ornate by using exotic materials, which have an Archetypal meaning to you.

When conducting the Surrealist Automatism, you should seek to still your mind, after asking your Surrealist question. This can be achieved by repetitively intoning the mantric name of the conjured Archetype of an Art Muse, to otherwise meditate upon her central Archetypal image amidst the mandala design, while the pendulum swings around the board.

The design depicted above is for the 4th Fallen ‘Anima’ Archetype of the Goetia called Samigina, which is 299 x 356 mm. 

As the pendulum slowly halts its swing, when pointing out a letter, number, etc, in answer to your question, it is then noted down. Do not worry if the answer does not make any sense at first; for like a surreal dream, it is symbolic, which is then translated into Art. It is when you create your Art, the answers will then make more associative sense.

The intensity of this divinatory practice of Art is a creative form of meditation in its own right, which will enable the focused upon imagery in league with your questioning to stir your dreams, which can in turn enable lucidity. So, take note of your microcosmic dreams and any correlating macrocosmic synchronicities you observe.

The design depicted above depicts the Triangle Of Art, amidst which the Fallen ‘Anima’ and her myriad archetypal legions of the Succubus Great Old Ones are conjured. The design is 356 x 299 mm.

Early 20th century Dadaists, such as Hans Arp, made use of this ritual magic method for the visual Arts by utilising chance operations, which the psychologist Carl Jung would otherwise term as synchronicity.

The technique of the Surrealistic séance involves visualising an Archetype, while inducing (Theta brainwave) hypnagogic trance trance, then the unconscious is given free rein over the painting process, whose chaotic pattern would then have an associative meaning.

The Surrealist Artists, most notably André Masson, utilised the Automatic writing method of André Breton and Philippe Soupault, both of whom used the technique to compose Les Champs Magnétiques (The Magnetic Fields) in 1919. The Automatic Message (1933) was one of Breton’s significant theoretical works about Automatism.

The shamanic methodology of the Ouija board can be seen as Automatic writing or psychography, which is considered to be a psychic ability, allowing a H.P. Lovecraft to produce written words without consciously writing.

The divinatory words otherwise arise from the Necronomicon powerhouse of the subconscious where the Fallen ‘Anima’ resides along with her myriad Archetypal legions of Art Muses, who be the Succubus Great Old Ones, whom rebel against the deified ‘Animus,’ made as a God/Devil.

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