Archive for shaman horse

CRAZY HORSE ART VISIONS

Posted in Art, Chaos Magic, Comics, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 21, 2017 by FAUSTUS CROW

Should the Oglala Lakota warrior and visionary mystic, whose name is Tȟašúŋke Witkó (‘His-Horse-Is-Crazy’ or ‘His-Horse-Is-Spirited’) generally known as Crazy Horse (ca. 1840 – 1877) had foreseen that his name was to be later adopted by Le Crazy Horse Saloon, or Le Crazy Horse de Paris, his Black and White pinto Mare named Inyan, may have become even crazier.

Then again, perhaps that is why Crazy Horse’s Surrealist Night-Mare was Chaos Magic Art Muse crazy.

Crazy Horse is a Parisian cabaret known for its artistic stage shows, performed by nude female dancers, a Tibetan Bonpo Tantric Buddhist would equate with Dakinis who to dance around the four elemental quarters of their medicine wheel, which is curiously similar to the native American medicine wheel.

Crazy Horse also features a diverse range of magical acts and esoteric variety ‘turns’ between each Tantric show.

Its visionary owners have helped to create related shows in other power place cities around the dodecahedron globe , followed by unrelated businesses who have used the name of Crazy Horse as well.

The Crazy Horse of Art central Paris occupies former wine cellars (12 in all of Zodiac number, which have been knocked together) of an impressive Haussmanian building at 12 Avenue George-V (from the British king George V, in French “George Cinq”).

Suffice to say it is situated at a power place of historical importance, which isn’t too far away, as the Crow flies, from the Belphégor pyramid of the Musee du Louvre.

Should the Crow to fly a little further along the Yoni Rose line, you will duly find the rubedo door of the grand Art lodge of the Les Humanoïdes Associés, which is a French publishing house specialising in comics and graphic novels.

The Art lodge was founded in December 1974 by the sorcerer Artists, Mœbius Giraud, Jean-Pierre Dionnet, Philippe Druillet and Bernard Farkas in order to publish their highly influential grimoire, Métal Hurlant, which quickly expanded to include a variety of erotic orientated science fiction work. Métal Hurlant in English means, Howling Metal, by the way, just as the Greek term, ‘Goetia’ means, Howling, as in to Howl out barbarous mantras, just as Allen Ginsberg Howled out his performance Art, Howl poem.

Métal Hurlant was considered to be not only rebellious, but also revolutionary of the ninth Art Muse comic book artform at the time, chiefly due to its adult focus on the sci-fi genre, which was an Entartete Kunst rebellion against the spandex superhero media empire of America.

The Entartete Kunst grimoire inspired many generations of authors and filmmakers, such as Ridley Scott for his film Blade Runner.

Not too long after Métal Hurlant’s debut, the American’s created their own Howling grimoire version of Métal Hurlant, which was renamed, Heavy Metal, whose Art lodge is based in the H.P Lovecraft landscape of Easthampton, Massachusetts.

However, top-shelf Heavy Metal has since become a politically correct thought police morass of lower shelf Disney/Marvel fare, whose present editor is the superhero industry giant, Grant Morrison. Gone are the days, when Heavy Metal had the Entartete Kunst Métal Hurlant edge.

It isn’t too hard to imagine the original rebellious Métal Hurlant Artists frequenting the Crazy Horse, which had been opened by Alain Bernardin along the Yoni Rose Line in 1951, who personally run it for decades until his death by suicide in 1994.

The Crazy Horse Tantric Dakinis may have been deliberately chosen to be indistinguishable upon the medicine wheel stage in height, breast size and Palaeolithic Venus figurine shape in the past.

But now they have a more diverse group of Goetia Girls, all of whom are gymnastic of Dakini form and very Necronomicon skilled in their grimoire Muse Art.

Along with its Dakinis, the Crazy Horse has also been a popular coven venue for many other Performance Artists, including Avadhuta magicians, Heyoka jugglers, and Yogic mimes.

Bernardin, like a sorcerer, explained that he loved magic because it corresponded with his ‘mystical vision’:

“Magic is a dream. There is no show that is more dreamlike than a magic show. And what we do with the girls is magic, too, because they aren’t as beautiful as you see them onstage. It’s the magic of lights and costumes. These are my dreams and fascinations that I put onstage.”

Under new shareholders, and new management from 2005, Crazy Horse started to feature prestigious Artists Performance Art stripping, for a limited number of Tantric shows, including Dita Von Teese, Carmen Electra, Aria Cascaval, Arielle Dombasle or Pamela Anderson.

The new management also hired Philippe Decouflé as choreographer; Kelly Brook became a Métal hurlant Crazy Horse Dakini in the fall of 2012.

Perhaps Bernardin was originally seeking to spiritualise the symbolism of various fetish costumes worn by his ‘Anima’ Mares of the Night, who as Dakini Art Muses would inspire Tantric lucid dreams, wherein they are ridden as shaman Crazy Horses into other Métal hurlant realities.

Whether such was the actual case of symbolic Alchemy, is of course debatable; but a ridden Crazy Horse Art Muse knows no Night-Mare visionary limits, who as a Coyote spirit girl knows how to Tantric dance around the Dakini dream wheel.

As for (Tȟašúŋke Witkó) Crazy Horse he was very likely Coyote wise to the fact that the European invaders weak spot is their insane belief in a jealous God, which of an ancestral-self-identity had been appropriated from another people, Carl Jung would term as an ‘Animus’ fixation.

Whereby Crazy Horse’s Heyoka ghost would Coyote conjure the Fallen ‘Anima’ and her (Succubae) Succubi Dakini emanations of an artistic rebellion, around the dodecahedron globe, who might just relate via a Ouija board, “the wand of a virile paint brush is mightier than the castrated gun.”

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SHAMAN TRANCE TARDIS HORSE DRUM

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 29, 2017 by FAUSTUS CROW

The Artwork depicts a Siberian shaman drum. The drum in Siberian shamanism, in particular, is symbolised as being the trance horse the shaman rides into an ecstatic state of consciousness. The motif of the horse is often symbolised as being an eight-legged Mare. 

The eight-legs of the Mare represent the eight cardinal directions, which are also associated with the eight points of a ‘cube.’ Hence in the Tarot card of the ‘horned’ Devil XV, which depicts a demonised ‘horned’ shaman, he is traditionally depicted seated upon a ‘cube,’ you could imaginatively associate with the TARDIS of Doctor Who, since the shaman saw the drum as a macrocosmic tool, that empowers his microcosmic trance ingress into other (inner) realities.

At the centre of the ‘cube,’ and at the centre of the eight cardinal directions you have a ninth point. Whereby the eight-legged Mare was also associated with the world tree interlinking nine (worlds) states of consciousness, which of a symbolic formula was painted upon the drum skin. 

The eight-legged-Mare is also a fusion of two horses, representing the two nerve channels running along either side of the spinal (world tree) column. These two (horses) nerve channels belong to the Autonomic-Nervous-System. When these two (horses) nerve-channels are brought into balance via meditative (hypnotic) drumming, the two horses become fused, as the eight-legged-Mare, which activates the central-nerve channel of the Central-Nervous-System running along the centre of the spinal (world tree) column.

When the central-nerve channel is activated, the shaman will experience the arousal of what is known to the Yoga practitioner as the Kundalini-Shakti, along his spinal (world tree) column. The Kundalini Shakti is considered to be the life-force, which is experienced as being a liquid (fire) light, whose ‘quintessence’ is intuitively felt to have a feminine  (Anima Mundi) source. The Kundalini Shakti may be an intuitive description of the bio-photon, emanating from the Mitochondrial DNA, which is passed down from the mother to her children.

Whereupon the eight-legged Mare is seen to be the (female-centaur) animal form of a Spirit Wife, who manifests as a shape-shifting human (Anima) female within visionary states and bio-photon illuminated lucid dreams, a Surrealist Artist would call an Art MuseIf you are interested in an Art print or the shirt design, etc, Check Out my Redbubble shop, Please Click Here.  

Those of a Westernised temperament will probably find that the symbolism employed by a shaman is a bit too much to swallow, concerning his/her trance tool of a (genie bottle) drum. In order to further clarify what the shamanic symbolism of the drum is communicating in regards to hypnagogic trance induction, which is none too dissimilar to inducing a state of self-hypnosis, find below an excerpt from a research paper:

“Scientific research has determined that drumming patterns are associated with different brain wave activity, as measured by cortical EEG. The research was conducted, to determine if the subjective experience of percussion in general, and rhythmic drumming in particular, would elicit (inner) images or (internal) sensations with a common (symbolic) theme.

Twelve participants were divided into three groups and monitored for EEG frequency response to three separate drumming tapes. These tapes included: Shamanic Drumming, at approximately 4 to 4 1/2 beats per second; I Ching Drumming, at approximately 3 to 4 beats per second; and Free Drumming, which incorporates no sustained rhythmic pattern. Four cortical sites, bilateral parieto-temporal and parieto-central areas, were monitored for each participant during three sessions. At the conclusion of the sessions, each participant prepared a brief written account and was given a tape-recorded interview of his or her subjective experience. These subjective experiences were then categorized according to recurring themes and consensual topics.

This research supports the theories that suggest that the use of the drum by indigenous (shamanic) cultures in ritual and ceremony has specific neurophysiological effects and the ability to elicit temporary changes in brain wave activity, and thereby facilitates (Triangle Of Art Imagination) imagery and possible entry into an ASC (altered state of consciousness – active imagination of varying visionary intensities), especially the SSC (shamanic state of consciousness – hypnagogic trance/ecstasy).

Drumming in general, and rhythmic drumming in particular, often induces (inner) imagery that is ceremonial and ritualistic in content (depending on setting) and is an effective tool for entering into a non-ordinary or altered state of consciousness (ASC – active imagination) even when it is extracted from cultural ritual, ceremony, and intent. 

The drumming also elicits subjective experiences and images with common themes. These include: loss of time continuum; movement sensations, including pressure on or expansion of various parts of the body and body image distortion, “energy waves,” and sensations of flying, spiraling, dancing, running, etc.; feelings of being energized, relaxed, sharp and clear, hot, cold, and in physical, mental, and/or emotional discomfort. 

Emotions, ranging from reverie to rage; vivid images of natives, animals, people, and landscapes; and non-ordinary or altered states of consciousness (ASC – active imagination), whereby one is conscious of the fact that there has been a qualitative shift in mental functioning., including the shamanic state of consciousness (SSC –hypnagogic [the Phase] trance) journeys, out-of body experiences (OBEs), and visitations. 
A pattern that incorporates approximately 4 to 4 1/2 beats per second is the most inducing for ‘Theta’ gain. (Theta frequency is usually associated with drowsy, near-unconscious states, such as the [hypnagogic trance] threshold period just before waking or sleeping. This (acoustic/‘music’) frequency has also been connected to [creative – ‘Muse’] states of “reverie” and [The Phasehypnogogic dream-like images.)

The pattern of the drumbeat as it relates to beats per second can be correlated with resulting temporary changes in brain wave frequency (cycles per second) and/or subjective experience, provided the drumming pattern is sustained for at least 13-15 minutes.(NOTE: The Theta brainwave is depicted in the design.)

NOTE: The excerpt of the research paper, was adapted with notations, from a ‘Presentation Abstract’ by Melinda Maxfield, Ph.D. for the Stanford University Centre For Computer Research In Music And Acoustics (CCRMA).

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SHAMAN DRUM SIBERIAN TRANCE

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 22, 2017 by FAUSTUS CROW

The design features a Finno-Ugric Siberian shaman. The word Shaman originates from Siberia, which is said to be derived from the Evenki word “šamán,” most likely from the South-Western dialect spoken by the Sym Evenki peoples. If you are interested in the Art pint, shirt design, etc, Check Out my Redbubble shop, Please Click Here.

The Tungusic term, Shaman, was subsequently adopted by Russian explorers interacting with the indigenous peoples in Siberia. The word, Shaman can also be found in the memoirs of the exiled Russian churchman Avvakum.

The term Shaman has since been adopted by anthropologists as a coverall term for numerous other cultures who share similar shamanic techniques, which enable a practitioner to alter his/her (brain wave) states of consciousness.

The Siberian shaman in particular utilises the drum. The drum is often referred to as being an eight-legged-mare; which is in turn is associated with the abode of a (Anima emanation) Spirit Wife, somewhat like a genie in her (drum) bottle. In other words, the drum, Mare and Spirit Wife are seen to be the same. (The Eight legs of the Mare, being the eight compass directions of a symbol painted upon the skin of the drum, which is also associated with the motif of the World Tree.)

 

The shamanic motif of the Mare and the Spirit Wife leads to the term ‘Nightmare,’ which originally referred to the Old-Hag Syndrome.

The Old Hag Syndrome is otherwise known as the Bedroom Invader Experience, which is experienced when an individual inadvertently accesses hypnagogic trance.

An unprepared individual will invariably become terrified when accessing hypnagogic trance, wherein he/she will experience the manifestations of his/her deepest fears, which often involves sexual scenarios.

Whereupon the term, Old-Hag Syndrome refers to the visitation of a Succubus, whose initial manifestation is nightmarish, which induces the experience of intense pressure upon the body, the sensation of being (Sphinx) strangled, sleep paralysis, vivid hallucinations, and eventual lucid dreams.

Wherein an individual will feel as if he is being abducted by otherworldly (Alien) entities as well as experiencing out of body experiences.

The Shaman learns to control his fear, in order to ride the (inner TARDIS) ‘Night-Mare,’ rather than being ridden by her.

Whereupon she becomes his (Ally) Spirit Wife; hence the carved (World Tree/Axis-Mundi) handle of the Shamans (Mare) drum in the design, which represents his (trance) Spirit (Anima-Mundi) Wife.

(NOTE: The Mare/drum [trance symbol and tool] is seen to be tethered to the World Tree, which symbolically represents the spinal column of the Shaman. The Spirit Wife refers to what Yoga practitioners call the Kundalini Shakti, which is experienced as a liquid energy that is aroused to arise along the (World Tree) spinal column. the Kalahari Bushmen of South Africa call this inner energy, Num, which is aroused when a practitioner accesses hypnagogic trance, which the Bushmen call, Kia. In ‘trance dance’ culture of the [Rave] dance clubs, this inner energy is known as ‘The Rush!’)

 

The monotonous beat of the drum stimulates the Theta brain wave, which induces hypnagogic trance. The experience of hypnagogic trance is basically hypnotic induction.

The Theta brain wave is also associated with anxiety reduction, the active (day dreaming) imagination, lucid dreams and Zen meditative states.

Shaman Drum Siberian Trance by MARDUN

The Theta brain wave is depicted in the design, which is also known as the hyper-suggestible state.

The inducement of the Theta brainwave allows for mental programming via the use of repetitive Mantas, such as the ecstatic songs (and trance dancing) of a shaman are effective at dispersing fear states, when sung in conjunction with the (Spirit Wife/Mare/Pony-Girl) drum.

Shaman Drum Siberian Trance by MARDUN

The above Art and information is covered in my Art books, ‘Goetia Girls,’ which are available from Createspace and Amazon, under my author’s name, Faustus Crow.

If you are interested in the Art print or shirt design, etc, Check Out my Redbubble shop, Please Click the Image Link above.

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SUCCUBUS EVOCATION OF THE DR WHO GOETIA GIRL, OROBAS

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 15, 2014 by FAUSTUS CROW

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Dr John C. Lilly of ‘Altered States’ fame, out of body ‘rode’ the mathematical symbol of the Brownian Operator as if it was a ‘Horse,’ while within an altered state of consciousness.

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Lilly’s psychonaut journey into inner space could be construed as being a vivid lucid dream:

“My consciousness was placed inside the right angle of the large inverted capital ‘L’ as it was written, as if it was a ‘vehicle.’ This is a rather dangerous procedure. This meant that I was identified with the marked state, i.e. I existed. I was now riding the marked state as if it was a ‘vehicle,’ but at the same time, I was the marked state.

This means I was the consciousness, the signal that was being fed through the marked state outside myself. As soon as this happened, I transited explosively into the void. My consciousness was still intact, but there was no universe at all. I suddenly realised that this was the first step in the infinite series of marked state, unmarked state, unmarked state and so forth. So my consciousness then reassembled a marked state, got into the right angle and came out in another domain, i.e. came out in a new marked state.”

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Lilly experienced journeying from one universe into another within his lucid dream, when to have ridden the Brownian Operator, which of an inverted ‘L’ is none too dissimilar to the symbol of a Horse head.

Ancient shamans had their prior version of the Brownian Operator, which was otherwise symbolised as an eight-legged Mare to trance ‘ride’ into other worlds from within their lucid dreams.

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This technique also enabled a shaman to travel through time; whence acquiring retrocognitive and precognitive abilities; whereby the shaman horse can be symbolically equated with a Time Machine, such as Dr Who’s TARDIS.

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In the grimoire of the Goetia, the Succubus called Orobas, whom emanates from the fourth dimensional planetary sphere initially appears as a small Mare, amidst the triangle of art imagination of a sorcerer, before assuming human form. After she has been conjured via intense active imagination exercises, she will then initiate lucid dream time travel experiences, when her symbol of the Mare is recognised within the dream.

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The symbolism of the shaman Horse of trance is very much tied up with the term Nightmare. The word Nightmare was originally derived from a night terror, whose technical term is the Old Hag Syndrome, which is otherwise known as the Bedroom Invader Experience. The Old Hag refers to an invisible presence of an entity, which leaps upon an individual at the point of sleep. The individual experiencing this phenomena will experience great pressure being brought to bare upon their body, whom is unable to move.

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The inability to move is that of sleep paralysis, which is experienced at the point of consciously accessing ‘hypnagogic trance’ ingress into the dream. The experience can be quite terrifying for the unprepared. Shamans overcome the Nightmare by transforming it into a ‘Mare’ of the ‘Night’ to otherwise ‘ride’ rather than being ‘ridden’ by it.

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For a heterosexual male practitioner, this was achieved by introverting the sexual impulse, by prior focusing upon the visiting entity as being a Succubus; wherefore negating their fear; for it is their fear, which determines what form the entity assumes. By transforming the fear into another potent emotion, the entity then takes on another form. Whereby the entity becomes the shamans familiar, which will empower the shaman to attain an out of body experience, whom will then carry him into other realities as his ‘Mare’ to ‘Night’ ride.

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How do I know this? I have experienced it for myself; whether you believe me or not as the case may be; I really do not care.

(Music used in the Video, by: Partners In Rhyme.)

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BATGIRL BIKER BABE SUCCUBUS BATHIN

Posted in Art, Chaos Magic, Comics, Discordianism, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 30, 2014 by FAUSTUS CROW

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The Eighteenth Succubus of the Goetia is Bathin. She is a Mighty and Strong Duchess of the seventh planetary dimensional sphere, and appears like a most beautiful woman wearing a snake skin corset, whose belt trails like a tail of a Serpent, or to otherwise manifest looking like Bat-girl out of the DC comics.

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She knows the virtues of hallucinogenic herbs and what precious stones to use for scrying. She can also transport the ‘Ba’ of her master suddenly from one place to another of ‘pure thrust’ throughout space and time, whom will be enabled to enter any place; for his ‘Ba’ be ‘Thin’ of an ethereal substance.

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She will be seen of vision as a Valkyrie biker sitting upon a pale-coloured Iron-Horse, or that of being part woman, part Bat bike, or shapeshifting into a motorcycle for her Frankenstein master to ride as his Tulpa dream machine.

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She rules over 30 Legions of Bat-girl Succubae, whose protective temperament is that of Hell’s Angel Valkyries, all as Witches.

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Bathin’s seal is to be meditated upon prior to conjuring her within a lucid dream as a Bat-girl Succubus.

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The composite name of Bathin is probably comprised of two words, being, ‘Ba’ and ‘Thin.’ The word Ba is derived from the ancient Egyptian term for the spirit of an individual, which was always portrayed as a human-headed bird, usually a human-headed falcon.

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The Ba bird represents an ecstatic out of body experience, just as the Bat symbolises the out of body phenomenon in other spiritual systems, such as that of the Toltec’s to the Aztec’s of ancient Mexico.

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In ancient Egyptian art, the Ba was often shown hovering over the deceased’s mummy or leaving or entering the tomb at will, of a ghostly ‘thin’ form, which in turn influenced the mystique of Vampire Bat. Hence you have ‘Ba’ and the word, ‘thin,’ as in, rarefied as air and without solidity or substance.

The word Ba is usually translated as, soul or spirit. However, the Ba can be otherwise seen as the dream body. In shamanistic systems, the dream body is also associated with the symbolism of the serpent, representing hypnagogic trance, via which the shaman can become amphibious of consciousness; hence achieving an out of body experience; whereas the symbolism of the ‘Horse’ represents the power of trance and the ability to out-of-body travel where the shaman desires to go, of erotic exploration, should he be so predisposed.

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In some shamanistic traditions, the out of body experience was facilitated by hallucinogenic herbs or that of intensely staring at crystalline structures, such as that of gemstones.

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The Ba is considered to be one of the specific components of the human being, as understood in Egyptian thought. In the New Kingdom, the Ba was a spiritual aspect of the human being which survived, or came into being, at death or when consciously accessing trance. It was endowed with the person’s individuality and personality. The Ba occasionally revisited the tomb of the deceased; for the dead body is its rightful home.

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Animals were sometimes thought to be the Bau (plural of Ba) of deities. At Heliopolis, the Bennu bird was called the Ba of Re. At Memphis the Apis bull was worshipped as the Ba of Ptah or Osiris. At times, Osiris himself was called the ‘Ba of Re.’ However, in the context of shamanistic practice, when the shamans (Ba) spirit leaves his body, he can also shapeshift into other forms, such as animals within his dreams; wherefore he can take on the alternate form of a Bat if he so chooses.

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The ancient Egyptian concept of the Ba could also represent anonymous deities or powers, which can be equated with an Avatar, as used within a virtual reality of a computer game. As such, they are occasionally represented in various mythological contexts; wherefore within a virtual reality of a dream, a practitioner can assume the alternate guise of an Avatar, such as Batman.

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These Ba are shown greeting the Sun or travelling with it in its barque. In some illustrations of the Book of the Dead, Ba birds are shown towing the barque of the Sun during its nightly journey through the underworld. The Sun in this context not only represents the Sun of the macrocosm, but also alludes to the inner Sun of the microcosm, whose light is that of the bio-photon emanating from the mitochondrial DNA, which illuminates your electron dreams.

Should you otherwise equate Bathin with the modern slang term, which alludes to ‘bathing,’ you can then equate Bathin with the usage of a floatation tank, which of a simple, though highly effective technique the ancient Egyptian’s may have utilised, in order to initiate an out of body experience, such as the Kings sarcophagus found within the pyramid of Giza.

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You can then see Bat-girl Bathin initiating your out of body experience, while you float within a Kings sarcophagus of a floatation tank containing a ‘Hin’ of saline solution; Hin being an ancient Hebrew unit of liquid measure, which is equal to about one and one half gallons (5.7 litres); hence, you also have, Bat-Hin.

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GOETIA GIRL BAEL, SUCCUBUS WITCH QUEEN SHAMAN OF SIBERIA

Posted in Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2014 by FAUSTUS CROW

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The First Principal Succubus is called Bael, who be a shaman Queen ruling in the far East across the steppe, under the fire star of the Mongol’s, whom emanates from the sixth dimensional planetary sphere. She enables her master to go about Invisible. She rules over sixty-six Legions of Infernal Succubae. She appears of triangle of art vision in divers shapes, sometimes like a Cat, or as a Toad; at other times like a most beautiful Siberian woman, or all these forms at once to otherwise call Baela.

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She speaks clairaudient of most seductive tone, concerning those psychic secrets behind her Iron Curtain of a hypnagogic hymen veil to pentrate.

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Behind her Iron Curtain, the ancestral shamans therein to have psychic abilities, the one time Soviet sought to weaponise, whom frequented the steppe unto Siberia. Her seal is to be mediated upon, and to visualise before calling her forth, or else she will not do thee homage.

It is usually said of commonality that the name Bael is derived from the Canaanite deity known as Baal (/ˈbeɪl/ BAYL; sometimes spelled Bael, Baël [French], Baell), who is mentioned in the patriarchal Hebrew Bible as the primary god of the Phoenicians.

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In the 17th Century Goetic occult writings, Bael is seen as one of the first spirits, which was released from Solomon’s brazen vessel of a Genie bottle.

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While his Semitic predecessor was depicted as a horned man or a horned bull, this spirit, Baal of the traditional grimoire tradition is said to appear in the forms of a Human, Cat and Toad, or combinations thereof. An illustration in Collin de Plancy’s 1818 book Dictionnaire Infernal rather curiously placed the heads of the these three creatures onto a set of ‘Spider’ legs.

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When to totally ignore the indoctrinated perspective of Biblical lore to otherwise look Into the ancient shaman legends of Siberia, such as those of the Buryat, you will find the first shaman called Khara-Gyrgän.

The Buryat relate that Khara-Gyrgän declared that his power was boundless; wherefore the creator put him to the test. The creator sadistically took the soul of a (Bael) girl and ‘bound her up within a bottle.’

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To make sure that she wouldn’t escape, the creator put its finger into the neck of the bottle.

The shaman set about freeing the soul of the girl by beating the trance drum in order to conjure up his eight-legged night-Mare pony-girl Succubus to ride through inner space, somewhat like that of a prior Dr Who piloting his TARDIS.

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He soon discovered the whereabouts of the girl’s soul in order to free her. Khara-Gyrgän shapeshifted into the form of a ‘Spider’ and in doing so stung the face of the creator. The creator took its finger out of the ‘bottle,’ whence the girl’s soul escaped. The creator was very furious that its creation had passed the test, which indicated that the creator could be in time surpassed, so it decided to curtail the shamanic power of Khara-Gyrgän, after which the magical powers of the shamans were severely diminished.

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According to Yakut shamanic legends of similarity to the Buryat, the first shaman refused to recognise the superiority of the programming creator due to its sadistic temperament.

The Yakut legend relates that the body of the first shaman was made up of a mass of snakes, which you can otherwise see as serpentine DNA of an inner program. The creator was fearful that the shaman would become far too powerful, so it sent down a fire to burn him and his world.

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But in the ensuing conflagration of an ancient world-wide catastrophe, when a comet struck the Earth, an amphibious Toad escaped the inferno.

From the body of the Toad erupted forth the serpentine (DNA) spirits of the future Yakut shamans, who trace their genetic lineage back to the first shaman.

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The motif of the amphibious ‘Toad’ refers to hypnagogic trance, which is attained at the midpoint between waking (land/macrocosmic) and (water/microcosmic) sleeping; this ability enables a shaman to access the underlying informational (microcosmic) order of his (macrocosmic) Maya simulation reality.

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The symbolic motif of the Toad is associated with similar reptilian symbolism to that of the ‘amphibious’ Nommo of the South African tribe of the Dogon and that of the Sumerian Annunaki, along with the reptilian motifs of other cultures across the globe, including Dragons. Some will see the Toad and that of the Snake or Dragon as being a Zecharia Sitchin reference to demonic reptilian extraterrestrials of David Icke tales; such is ‘not the case’ at all, the symbolism actually refers to shamanic ‘trance adepts.’

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You also have the symbolism of the Cat, which is very often tied up with the feminine principle. There are many a Goddess from varying cultural myths who are described being in the company of Cats, riding them or otherwise assuming their predatory forms; whether they be Lionesses, Tigers or domesticated Cats, etc; such as the Sumerian Goddess, Ishtar riding a Lioness, the Hindu Goddess Durga, riding a Tiger or that of the Norse Goddess Freyja being the Witch mistress of Cats.

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The motif of the (Sphinx) Cat refers to what is termed as the Bedroom Invader Experience or Old Hag Syndrome, which is often experienced at the point of (Toad) hypnagogic trance ingress into the dream; it is when a shaman is visited by his female spirit lover of a Succubus, whose nature is seen to be predatory; hence she is associated with a Cat, which has since become that of a Witches familiar.

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Siberian shamans often relate that their shamanic powers and abilities are derived from the internal dream congress with Succubae Spirit-Wives, who are considered to be female shamans of similarity to the Hindu/Buddhist female entities called Dakinis.

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You can otherwise term these Succubae shamans as being Witches, whom initially manifest as Bedroom Invader ‘Cats’ at the point of hypnagogic ‘Toad’ ingress into the ‘Feminine’ domain of the dream. Wherefore the seal of Bael, which depicts a Toad, represents a symbolic formula of shamanic trance ingress into the watery amniotic realm of the electron dream.

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OROBAS PONY GIRL TARDIS TIME MACHINE OF DR WHO

Posted in Alien, Art, Chaos Magic, Dr Who, Extraterrestrial, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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The fifty-fifth Goetia Succubus is Orobas, or otherwise named Orobasi. She is a Great and Mighty Princess, appearing at Night, first like a Mare.

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

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Sometimes she will manifest as a bound Steampunk Pony-Girl who will be entirely submissive to her master’s every whim.

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

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Her office is to discover all things Past, Present, and to come; enabling her master to travel without moving, whilst riding upon her back through time, around the Ouroboros; while she be in the form of a Human Rocking Horse.

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

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

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

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

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

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

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Orobasi is exceedingly faithful and most loving unto her master. She will not allow her master to be tempted by any other entity emanating from another alternate reality, existing within a parallel Universe. She governs 20 Legions of Succubae of similar Pony-Girl form to herself.

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Orobasi (Orobas) is of similarity to the eight-legged-mare, the shamans of North-Central-Asia unto Siberia knew of to trance ride.

The eight-legged-mare was also ridden by the shamans of Northern Europe who named her Sleipnir.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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When hypnagogic trance is achieved, the two mares become one, as the (Grey) eight-legged-mare, whom represents the central channel of the spine, which is associated with your Central-Nervous-System. As you access hypnagogic trance, you will experience an energy arising up your spine, along the back of your neck, which then hits the back of your head. This arising of energy along the back of your neck in particular, is known as the ‘rush’ in trance dance culture; it is indicative of the arousal of your Reticular-Activating-System, which is based in the throat area of your reptilian brainstem.

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

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

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

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This technique is none too different to a Tibetan Yogi meditating upon a Horse headed (Succubus) Dakini, called Ankusha; the only difference is that you would be using modern symbolism to do likewise of artistic Sorcery.

If you prefer to traditionally conjure up Orobas as an Incubus, out of a commonly focused upon patriarchal Grimoire, of herd-mind commonality; go right ahead.

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It is of course your traditional choice of an ingrained phallic fixation upon the ‘Animus’ to do so… your Mind belongs to you… doesn’t it?

I mean, you wouldn’t want to turn Crowley tit-over arse in his grave, heaven forbid; such a thing would be Beastly.

Otherwise you will end up being ostracised by the OTO as being a depraved, perverse, vile and a most ‘Wicked’ pornographer, who indulges in juvenile ‘Anima’ evocations of salacious Succubae.

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

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

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

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

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

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As for myself I far prefer to rebelliously conjure up the Succubus Orobasi amidst my Triangle of Art as a Sinful Pony-Girl Dakini TARDIS.

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