Archive for Sigil

THE CONJURING OF A SUCCUBUS ART MUSE INTO A LUCID DREAM

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 6, 2016 by FAUSTUS CROW

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The Conjuring of varying entities and those worlds, which they occupy, many an Artist to know. The practice of Conjuration is engaged in whenever the Artist is confronted by a blank canvas onto which is Conjured a form. This requires an emotional connection with what is to be Conjured; for it is the emotional charge of the Artist, which animates what is being visualised.

The visualisation phase engenders thought processes, which automatically kick in, generating a myriad number of symbolic associations, which can take on manifested form within a lucid dream.

The symbolic associations are determined by what is being visualised. The visualistion will be of differing intensities depending upon the emotional charge of the Artist.

Most often than not, the visualisation will be more of an impression than a fully fleshed out form; at other times, it will be quite vivid, though fleeting.

Sometimes it will be very vivid of an overlapping ghost reality. Whatever is Conjured of a form, will be constructed from innumerable symbolic associations, which are derived from the memories of the Artist.

Everything that the Artist has ever experienced is stored within the subconscious, being the storehouse of memory. You then have a formula of: Emotion, Thought and Memory, which can be termed as the ‘Triangle Of Art.’ At the midst of the ‘Triangle Of Art,’ you have the ‘Eye’ of the ‘Imagination.’

It is the inner eye of the imagination, which, of a ‘Paranoiac-Critical Method’ example, fuses the memory of a Fox with a human figure of, say, a Hogwarts Witch of a schoolgirl, which then creates something else of a St Trinian ‘Exquisite Corpse’ Conjuration, you could knit-together as a Manga version of a Japanese Succubus, known as a Kitsune.

This will of course require the Artist to have the necessary ‘observational’ memories concerning Japanese culture, which will be Conjured up automatically.

If not, the Artist will then have to rely on references. Whatever the case, when the Artist observes everyday events, it is not done in a haphazard way; the Artist has to make it a habit of consciously transforming what is being observed into a sketch, let alone a painting within his/her imagination.

The character of a Kitsune does not exist in a void; wherefore, her Conjuration will then generate associations with everything Japanese drawn from memory of ‘re-remembering.’

So, when the Artist manifests her upon the canvas, it will then lead to an associative world being painted around her.

The trick is, the stronger the emotional connection the Artist has with the initial Conjured character of a Kitsune, it will then lead to a free-flow association into her world.

The intensity of the creative act, is its self a form of meditation, and like a martial art, it best occurs when the analytical mind does not interfere. This requires that the emotion is felt by the body; in other words, the emotion is transmuted into a feeling, a shaman would say is felt by the heart, where the ‘power of (hypnagogic state) trance’ resides.

This then leads to a (Theta brainwave) state of automatism, where the Artist is not thinking about what is being painted, it just manifests via the (pentagram) hand, guided by the eye of the imagination.

With continued practice it can initiate vivid dreams, leading to a state of lucidity; this will in turn engender concordant synchronicities. The experienced synchronicities will reflect back the symbolic focus of the Artist, who, when to observe the synchronicities, to take further of artistry, becomes as a Shaman.

However if an individual is unprepared for the feed-back-loop of synchronicities, which will reflect back his/her ‘symbolic’ beliefs, such as dreaming about a subject, to then, upon awakening, suddenly overhear a conversation about what had been dream’t, or even prior thought; as well as losing and finding items under mysterious circumstances, or seeing an email from someone, he/she was thinking of, before seeing the email, etc, said individual might just become very paranoid.

The experienced paranoia is a reactive state of the unprepared conscious mind, which is esoterically termed as entering ‘Chapel Perilous;’ basically, the mind attempts to come to an understanding of what is going on, based upon what has been learn’t, which invariably does not allow for such phenomena to be recognised, whereby his/her belief system starts to fragment, being the Nigredo stage of the Great Work of Alchemy.

This can initially lead to an individual believing that his/her life is being subversively manipulated by secret agencies of the government, to even see men in black around him/her upon a synchronicity, or to believe he/she is being pursued by malign Satanists, Biblical demons, or Newage-Gnostic aliens, who experiences assailing Illuminati nightmares, along with those who feed into the fear, whose ulterior motive is to exacerbate the paranoia even further, which of a hidden agenda is to enslave him/her within their ring-pass-not symbolic construct, etc.

The Nigredo stage will continue of disintegrating madness until the individual realises of an Albedo stage of inner Alchemy, that his/her (microcosmic) dreams reflect back himself/herself, and likewise the feed-back-loop of concordant (macrocosmic) synchronicity.

When to then transform his/her symbolic beliefs, the dreams of the individual and the experienced synchronicities will then accordingly change of an Alchemical Rubedo stage; whereupon the individual becomes aware of the reality of Magic in his/her life, which is the goal of the ongoing Great Work to evolve consciousness.

Hence the Artist, Austin Osman Spare extensively practiced (automatism) automatic-drawing, which he made as his symbolic Alchemy of (metaprogramming) sorcery practice. Alas, there is hardly any documented examples of his technique, apart from what he had described in his esoteric writings.

But the Artist Kim Jung Gi demonstrates what Spare was speaking of who is a supreme Martial Artist of the Arts. There will of course be those who to argue that Gi’s work is not automatic, which of commonalty is usually defined as a return back to a childhood spontaneity by many a so called Modern artist drawing scribbles a 2001 Space Odyssey ape can too doodle, or that of allowing the subconscious to chaotically take over, as if it is some David Icke reptilian with a planet X mind of its Freudian own, or otherwise equated with archetypal entities possessing a Jungian Artist.

Don’t get me wrong, I have nothing against Modern art; but it has far more to do with ‘who you know,’ rather than ‘what you know.’ However, Gi has the childhood spontaneity of being at one with his subconscious mind, like Spare, to such an extent that his inner Conjuring of various characters (spirits) and their (dream) worlds Gi is able to ‘vividly visualise’ with his inner eye of re-remembering onto paper, without using any references, let alone avoiding being esoteric about his artistry, which to freak out many a square mind, who make up the majority of the audience. In other words, Gi draws as a child would do, who can… actually draw.

There are those square brained sceptics who argue that a Conjuration of a spirit is merely Hogwarts fantasy, who, when to dare practice, gibber their rituals, read out of a medieval Playgirl grimoire in an empty room, seeing nothing appearing. Well, what do they expect, they are not thinking correctly, who to have quaintly forgotten that the Art of Magic is that of Art.

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The trick is, you have to think and act like an Artist, to otherwise practice Conjuring a spirit onto a page, within a book of shadows sketch-pad, to thence draw of manifestation; but first, you draw within your mind, whence your inner eye to then guide your pentagram hand.

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You will then have a Succubus Art Muse to appear amidst your Triangle Of Art Imagination, to seer the Muse taking on an Art Model life of her own of a drawing, the sorcerer Artist Austin Osman Spare to have known, who was aware that the drawn image has an interactive informational reality within the experienced dream.

She to then guide your winged eye of the Artist into her uterine tunnel of the Active Imagination, which of Art, is Sorcery.

As an Artist, you to stand as the creator at the centre of your Magic Circle of an Art studio, divided of four quarters, surrounded by your elemental weapons of a Wand of a Brush, Palette of a Shield, Sword of a Palette Knife, and a Cup, wherein the colours of your Art are mixed of Alchemy.

The Altar is your Easel, upon which be the canvas of a one time cave wall to paint with Metals suspended in oils, when to conjure up a quintessential Succubus Art Muse out of your Triangle Of Art imagination. Her Mind-Doll form of a symbolic expression can be knitted-together of an ‘Exquisite Corpse’ Tulpa, which of symbolic Alchemy, will pertain to one of the seven planetary (Chakra) spheres of an archetypal influence.

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The initial two-dimensional image is then but a ‘doorway’ into your creative mind of an Artist, a conjured Succubus Art Muse to Symbolist inspire; who, depending upon your emotional intensity, may then manifest as a three-dimensional reality within the temple of a Surrealist ‘lucid dream.’

As a Sorcerer Artist, you might also observe that the conjured symbolism of a particular Succubus Art Muse within a microcosmic lucid dream, or that of a vividly imagined evocation, will generate concordant macrocosmic synchronicities.

Said synchronicities may lead you to meet up with a Muse of an Art Model, you have already depicted within a painting of oiled flesh, for yet another painting to model for, of Sorcery Art.

Such is what I explore of artistry, to take further of experimentation. Should you be one of those who to scream that you cannot draw, I am sure that you can draw a stick figure, like those depicted in Palaeolithic cave paintings, or likened to those of hieroglyphs, you can create as your colourful Sigils of Howling Conjuring.

  

 

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SUCCUBUS SCHOOL OF THE DARK ARTS

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , on March 17, 2016 by FAUSTUS CROW

Within the Da’at realms of the symbolic interface of the dream, St Lilith’s Harem School of the arcane Arts can be found.

Wherein of surrealist ideas, the Succubus Art Muses of an alternate Goetia, await the dreaming Artist to penetrate their hypnagogic hymen veils, which to veil their planetary Chakra spheres of a pyramidal school hierarchy.

When lucidity is attained within St Lilith’s Harem Art School, the dreaming Artist can then conjure up a chosen Succubus Art Muse of an ‘Anima’ fluctuation to pose for him amidst his Triangle Of Art imagination.

Such would require the sorcerer Artist to have prior painted her form of meditative artistry, who, being the creator, is her God, whom to thence visualise the veiled door of the Succubus seal, at the hypnagogic point of sleep.

The seal of the Succubus Art Muse will determine the nature of the classroom world, and that of its lessons, the dreaming Artist will penetrate of internal ingress.

But beware; for the predatory schoolgirl Succubae be St Trinian wise in Chaos Magick, whose wanton witchery goes far beyond Hogwarts schooling.

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FRANKENSTEIN CREATED TULPA WOMAN

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 16, 2016 by FAUSTUS CROW

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From out of the infernal depths of the subconscious necropolis, disparate exquisite corpses are exhumed of archetypal ‘Anima’ desires, which are then knit-together upon the canvas lab slab of creative meditation, to hence paint of artistic conjuration, to Mantra name, Mephistophina.

The canvas skin of the two-dimensional knit-together Frankenhooker is verily tattooed with sigils of desire. The Frankenstein sorcerer to mediate upon these sigils, while manifesting the visualised knit-together Succubus of planetary layers of oiled skin, imbued with metallic colour, to sculpt into a sublime form with his erect wand of a brush stroke.

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At the hypnagogic point of sleep, the Frankenstein sorcerer introverts his five senses of inverse pentagram, while visualising his sigilised Frankenhooker.

The Frankenhooker Succubus is thence conjured into three-dimensional Tulpa life within a lucid dream, when to electrify her with a Vajra lightning bolt of a barbarous name to call out, of an emotionally charged Necronomicon mantra, “Mephistophina.” 

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Sorcery and Art are one and the same of practice. An Artist does not worship his knit-together creations, which be that of a religious sentimentality, even when they come to life within a sixth-sense lucid dream; for if the artist does so, he will surely lose himself to his obsessively fueled Mind Doll, just as he would do when engaged with a flesh and blood woman of an ‘Anima’ projection.

This will invariably lead to a rather odd psychological conundrum arising concerning jealousy issues, which in reverse would be understandable, if your beloved to thence dally with others.

If the Artist becomes enamoured with a singular Mind Doll creation, becoming thence as his only tunnel reality, he is no longer practicing Art, nor Sorcery, but that of religion.

Since there be many another ‘Anima’ fluctuation to knit-together of conjured Frankenhooker artistry, to visualise amidst the Triangle Of ‘Art’ Imagination.

The same is true concerning the creature of a deified ‘Animus’ made as a jealous God-Devil, by many a Mary Shelley, around which three ‘Borg’ faiths seek to convert everyone to their patriarchal tunnel reality populated with machismo Angels and butch Demons, all as knit-together Incubi, which to be illustrated in numerous Playgirl Grimoires of commonality.

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NIGHT-MARE SUCCUBUS TIME TRAVEL DREAMS

Posted in Art, Chaos Magic, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 6, 2015 by FAUSTUS CROW

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I utilised the Succubus conjurations as a means to explore potential abilities, which can be construed as being psychic. When as a youth, I decided to conjure up a Succubus in order to induce the psychic ability of precognition and retrocognition.

The employed technique required implanting the focused upon symbolism of the Succubus into the infernal depths of my subconscious mind. The implanted symbolism would then become as a trigger within the dream. The trigger-symbol enabled lucidity to be attained, when it was recognised within the dream.

The initial erotic focus upon the Succubus involved introverting the sexual impulse so that its emotional energy of a charge empowered the spin of an electron dream. This was achieved when creating artwork depicting the Succubus, which was also meditative of practice. When creating the focused upon two-dimensional imagery I also utilised a name of the Succubus as a Mantra, which I repetitively intoned of a Spell, while I worked upon the images of meditation.

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The imagery of the Succubus was that a knit-together Frankenstein construct, of a symbolic formula. This involved a fusion of symbols from popular culture and mythology, symbolising my desire to attain the remote viewing ability of precognition and retrocognition, within a lucid dream, which is essentially a form of time travel.

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My experiment at the time was to access retrocognitive information pertaining to a particular geographic locale in the far distant past.

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The creation of the focused upon imagery eventually led to a number of dreams, within which I noticed the implanted symbolism of the Succubus was starting to formulate of a three-dimensional inner reality. The initial dreams tended to be highly erotic of nature.

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This then led to the experience of the Old Hag Syndrome, of sleep paralysis, as well as that of a formless Bedroom Invader presence entering the room, which is an initial phase of hypnagogic trance ingress into conscious dreaming. When experiencing the Old Hag Syndrome, I called out the Mantra name of the Succubus as well as visualising her (Sigil) seal.

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I then experienced having an out of body experience, to then find myself consciously entering into the dream. I observed my still sleeping body upon the bed and that I was standing in my room, looking out of my window, though, at a distance from its slider portal of a kind of inner time tunnel.

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What I could see of a scene outside of the window was not of the usual urban environment. What I saw looked to be a desert terrain over which loomed tortured orange clouds. I thought at first that I had successfully accessed the desired time period, until I smelt an overwhelming scent of death and decay when getting closer to the window of a portal.

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I decided to look out of the window of a portal to see where I actually was. It was at this point I realised that the scene was of a scarred WWI battlefield, somewhere in Europe, possibly France. I then noticed what appeared to be a rather bedraggled German soldier wearing a gas mask, looking up at me, who had a flame thrower.

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I had the distinct sensation that he was observing me, as if I was some kind of ghost, hovering in the fetid air above him, as some kind of winged eye of an orb. I felt that the soldier was severely traumatised by his horrific circumstances, as well as being shocked by what he was seeing.

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From my vantage point, the German soldier was standing in the approximate area at the end of my garden. I then awoke from the dream, feeling somewhat drained due to the vivid intensity of the dreaming experience, since I was also accessing aspects of his life and other associated information. Of course, I couldn’t prove any of it to myself; whereupon my perspective was that the dream was primarily symbolic of nature, rather than proving that time travel from within a lucid dream was possible.

I then proceeded to write down the details of the time travelling dream experiment, which I felt was unsuccessful, though interesting, since it was a most vivid lucid dream.

About three hours later, I heard my parents excitedly calling me. At the time, they were doing a spot of gardening. Suffice to say, my parents were totally unaware that their young son was conjuring up Night-Mare Succubae to ride out of a grimoire.

I went to see what my parents wanted of me, to find them at the end of the garden where I had previously seen the German soldier in the dream. My parents then presented me with a rusty WWI German helmet they had discovered at the very spot where the German soldier had stood. At that moment I felt like I was a Slider Dr Who, whose loving assistants are Succubae.

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It appeared that a previous tenant, who was no doubt a British soldier had acquired the German helmet as a trophy, which he later used as a garish flower pot; that, or he was a Hippy artist who had obtained the helmet from his grandfather to place, Make Love, Not War, flowers in its cavity during the Vietnam conflict.

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Whatever the case, said helmet was eventually buried, to thence be rediscovered under intriguing circumstances, at a time, when I rode a Succubus as my TARDIS.

Although I had not accessed the desired time period within the induced lucid dream, I had otherwise seen a possible past event concerning WWI, as well as experiencing an associated precognition of Slider browsing, which may have been due to some of the symbolism I was creatively using at the time, of a meditative focus.

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The experience led to a science fiction conjecture that it could be possible to access the electron dreams of an individual in the past to thereby impart spun information to, of a technological nature, which could potentially lead to engineering an alternate reality. Such may be a possibillity when to consider the vivid dreams of Nikola Tesla, wherein of which he had derived many a futuristic invention beyond his then present time-frame.

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After this experiment I decided to utilise the same technique to see an event three days ahead in time, which was successful.

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I still have the German WWI helmet in my possession, as a reminder that precognition within an engineered lucid dream is indeed possible. Hence, for me, time travel is a reality; wherefore my interest in the subject.

When science eventually finds a technological means to replicate what can be achieved from within a lucid dream, you will then have a time travel technology.

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But then again, the scientists may have already achieved this feat behind closed doors. Whether you believe me, or not, as the case maybe, I do not care at all. If you want proof, best find out for your own self.

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THE SUCCUBUS TORTURE CHAMBER OF LILITH’S HAREM

Posted in Art, Chaos Magic, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 6, 2015 by FAUSTUS CROW

Most of the spirits, which are listed in the grimoires are described as being male entities, which are essentially archetypes of the deified ‘Animus,’ made as a God and Devil.

However many of these grimoire spirits were originally one time deities of varying cultures, which had been dominated by the monotheist worshippers of the deified ‘Animus.’

This led to their ancestral-self-identities being demonised of symbolic bondage.

There is little or no mention of female spirits, in the grimoires, which are the archetypal manifestations of the Fallen ‘Anima.

Although when the one time prior (Anima) Goddesses are mentioned of a rarity, if at all, they are invariably seen to be enslaved male entities in disguise. When these entities are otherwise seen to be female it becomes somewhat obvious why a heterosexual Sorcerer would conjure them.

This would in turn reveal the underlying sexual reasoning behind why male entities are conjured, such as a King, Dark Lord, or a Prince Of Darkness, etc.

However, the male entities can also be seen as Fifty Shades Of Grey Alpha-Male ‘Role-Models,’ a conjuring heterosexual Magician can assume as (Alternate-Guises) Avatars within trance and dreams in order to become more sexually Vampire/Werewolf attractive to the opposite sex, which in turn involves seeking to attain wealth, power and influence of a materialistic aphrodisiac women find to be a sexual turn on.

It is the women who define the male ‘Role-Models,’ towards which males gravitate, so that the women will choose them as potential mates; whereby the commonality of the Hogwarts Playgirl grimoires list women’s ‘Animus’ desires.

As for those of a different sexual orientation, such as that of the homosexual and bisexual, the all male pantheon of the deified ‘Animus’ is a ready made erotic focus, which has been forged by the heterosexual female.

The religious foundation on which the overriding focus upon the male gender is based, is thereby indicative of a sexual orientation. Hence you have the deified ‘Animus’ of a God/Devil or a Mephistopheles.

This underlying sexual orientation becomes more obvious, when the grimoires communicate that a disobedient spirit will need to be severely punished should it not manifest before a Magician, which leads to a certain active-imagination technique being employed.

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The technique is described in most grimoires of similarity, which involves cursing the spirit with varying exorcist expletives along with flagellating, whipping, burning, tearing and ripping apart the seal of the disobedient spirit, with the intention of destroying its ethereal flesh within the torture chamber of the Magician’s mind.

Or at the very least, curse the spirit into the deepest nether depths of an indoctrinated collective unconscious perception of a Hell. And while doing so, the spirit suffers the dreadful torments of the conjurers meted out punishments amidst its spiritual sphere of a (Lilith’s Harem) dream abode.

Of course it doesn’t make sense symbolically or even literally, should the conjured entity be seen as being an ageless creature, whose powers go well beyond that of the mortal conjurer. Not even howled out religious curses, from any exorcist text will affect its archetypal existence, since its ancient nature pre-dates any simplistic human conceptualisations of the great mystery, of which, the conjured entity is more privy to, than that of any transient mortal.

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So, why would an inorganic intelligence allow its self be tortured by a carbon life-form of a naked ape? Well, you will have to apply some psychology to the matter, whose science was originally derived from the practice of Magic, just as Alchemy led to the science of chemistry. It is because, the technique is utilised to force subconscious material to the surface of the conscious mind of the conjurer, which sometimes requires forceful means to do so.

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The employed technique had originally been appropriated from shamanistic practices, which of a symbolic act is engaged in to attain hypnagogic trance. The state of hypnagogic trance is accessed when becoming physically exhausted. The exhaustion is attained, while raging at a two-dimensional image of a spirit seal, so that a particular emotional charge is generated.

The intensity of emotion is required in order to break through limiting beliefs of cultural brainwashing. Certain ingrained beliefs can block the conjuration of a visualised archetype into its chained manifestation of an imagined form, which leads to self doubts formulating along with dispersing the emotional energy.

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The emotional energy needs to be cohered into a laser beam of a ‘forceful’ focus, which will then determine the eventual three-dimensional expression of a spirit within a lucid dream.

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When you reverse the ‘Animus’ fixated all male symbolic paradigm of the Playgirl grimoires to that of an all female Lilith’s Harem paradigm, of the Fallen ‘Anima,’ the underlying sexual orientation becomes far more apparent of sadomasochistic bondage.

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However, you may have to ‘force’ the issue of a rebellious reversal, since your ingrained beliefs concerning an all male symbolic paradigm of the deified ‘Animus’ will invariably block its manifestation amidst your Triangle of Art Imagination.

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This is further exacerbated by an indoctrinated collective focus upon its egregore form, which subliminally influences the collective unconscious, and in turn your subconscious mind.

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Although, many a mind will be morally outraged by such symbolism, it is not externalised of a hedonic activity, it is otherwise internalised of ecstatic active-imagination.

The symbolism is employed in order to establish a connection with the feminine ‘Anima’ domain of the dream.

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NOTE: There will of course be many a mind who will not be able to disengage their projected externalisation of the described technique, to otherwise castigate it as being vile pornography or to indulge themselves in base instincts. Others will point out that the practitioner should show loving respect towards the conjured entity amidst the Triangle Of Art Imagination, who will do so, by showering gifts upon an altar of fluffy Newage feminist devotions. However, the feminine nature of the ‘Anima’ can be fathomed when observing her fleshly counterparts, who have a cross-cultural liking for Bad-Boy Beasts of a genetic imperative, and what is more, the ‘Anima’ has to be ‘internalised’ as well as ‘controlled.’  

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A Witch likewise has to do so by learning how to internalise her deified ‘Animus’ made as a God and Devil, in order to Playgirl Grimoire ‘control,’ otherwise, she’ll end up being blindly led by her externalised ‘Animus’ projection upon a Beta-Male Good-Guy Christ to invariably Crucify, or by an Alpha-Male Bad-Boy Devil, who will 50 Shades Of Grey dominate her!

DISCLAIMER: Should you engage in such dark erotica active imagination exercises in order to indulge your Christian Grey shadow; just keep in mind that the realm of the dream will reflect you back of a probable reversal concerning your self-sacrificial messianic complex, which might lead to you being crucified, whipped, and verily upended by Judaeo Christian Chippendale Demons, dressed as Roman legionnaires.

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But then, this may be just up your monotheistic UR alley of a Nightmare kink; if so, go right ahead. This is more so the case, if you otherwise be a 50 Shades Of Grey, Christ loving, Oprah Winfrey Witch Nun, subconsciously desiring to be Twilight bound to a feminist cross, by oiled up Angelic and Demonic Incubi.

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GENIE BOTTLE OF A HAREM COMPUTER

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 5, 2015 by FAUSTUS CROW

Many would say that Austin Osman Spare had his career entirely the wrong way round, who began as a West End celebrity to then end up in an obscure South London basement. By the time Spare departed this materialist circus, back in 1956, he had been largely forgotten by the square brained art world. But since Spare’s demise, like many another dead artist earning shekels for collectors, he has become a legendary figure, not just for his remarkable art, but for his even more remarkable inner life as a twentieth century sorcerer and magical thinker.

Spare was ushered into this world in Smithfield during 1886; he was the son of a policeman, whose father walked the peeler beat where steampunk Jack the Ripper once stalked his prey. As for his son, he was hailed as a prodigy, genius, and all-round enfant terrible of the Edwardian art world. Spare was the youngest exhibitor at the 1904 Royal Academy exhibition, who went on to attend the Royal College of Art, where he dropped out without completing the course, and had his first West End show at the Bruton Gallery in 1907.

Some critics praised his artistry (“almost unrivalled”; “his management of line has not been equalled since the days of Aubrey Beardsley; his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors”); but others absolutely deplored Spare’s depicted visions, already seeing Spare’s work as being abnormal, pathological, and entartete kunst degenerate.

George Bernard Shaw is said to have remarked that Spare’s medicine was too strong for the normal man; yet said normal man of a sensitive morality, ended up amidst the horror of the WWI trenches. Although, controversial as he was, Spare was still the Darling of Mayfair. But this was not to last. Later Spare would be selling pictures in South London pubs, and advertising his ‘Surrealist Racing Forecast Cards’ through a small ad in the Exchange and Mart.

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Spare’s work started to become far more stranger of grimoire vision, which for those of his hypocritical era could not handle, whose mindset still afflicts the present; this was usually in the main due to Spare’s work being highly erotic of content; whereas in hindsight, Spare’s artistry was of similarity to a proto-Dadaist and that of proto-Surrealism.

A number of Spare’s magical works, were primarily orientated towards triggering him into a lucid state within his vivid dreams. Some of his later creations were that of painting intricate sigils upon the screens of defunct television sets, which he had liberally gutted; such creations will be considered to be rather odd, to say the least, by those who do not understand what Spare was up to.

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Spare utilised the symbolism of a television set as a means to trigger him into lucidity within his dreams, as well as accessing what a television represents, which of a temporal device, allows the observer to access information beyond him/herself. But, within the arena of the dream, the symbol of a television can trigger the dreamer to become lucid, whom can then access the television, like that of a stargate to travel through, when to tune it of a sigilised desire into other art gallery worlds.

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Of course, the science fiction film of stargate had come out some years after Spare’s demise, but Spare had prior utilised similar symbolism concerning an everyday device of a television set, upon which many are collectively hypnotised by of an eye in their living room. However, Spare utilised it to mediate upon in order to initiate third-eye hypnagogic trance ingress into a lucid dream, where his sigilised television set is verily transformed into a vaginal stargate.

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The television set was still somewhat of a technological innovation during Spare’s corporeal era, which has since been superseded by the usage of a computer.

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When a computer is seen as a symbol, it can be easily equated to a Genie bottle, which also leads to a symbolic association with a grimoire listing spirits.

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The computer has associations with alternate realities in regards to computer games and films. You also have the internet in relation to accessing information beyond yourself. Wherefore, the computer can be seen as a labyrinthine abode for spirits, you can otherwise see as salacious Succubae.

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Should you utilise the symbolism of a computer as a dream trigger, you could see the existence of the Succubae as being akin to that of sentient software (Tulpa) programs, whom exist within a virtual reality. Said virtual reality can then be equated with the informational realm of the symbolic dream.

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You could even associate the symbolism of a the computer with a Harem school of seven planetary spheres, which is further equated with a Genie bottle, of a trigger symbol within the dream.

The Succubae can then be seen as Virtual Girls, whose abode is that of a computer, which is their Harem school of a Genie bottle. You then have a sorcerer conjuring Succubae out of his Genie bottle of a grimoire computer when to become consciously aware within a virtual reality lucid dream.

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As for sigilising your computer, such is not necessary of a meditation aid; for you can otherwise artistically create an appropriate two-dimensional sigilic wallpaper and that of a Succubae screensaver for your Genie bottle of a grimoire computer, which when meditated upon Spare style, will initiate hypnagogic trance ingress into your associative dreams of three-dimensional artistry; when to do so, you will attain an artistic insight into what Spare was up to as a sorcerer.

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SUCCUBUS LUCID DREAM SORCERY ART SURREAL

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 8, 2014 by FAUSTUS CROW

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Whenever you speak or to write, you are engaging in the sorcery of ritual magic; the words that you use instantaneously ‘conjures’ up associative symbols of an ‘evocation’ amidst your triangle of art imagination.

If this does not occur, it is because you do not yet understand the sound associations with the corresponding symbols. In other words, you do not yet understand the language being utilised.

You can investigate these instantaneous symbolic associations, which are taking place within your subconscious mind, for yourself, by remembering your dreams upon awakening, to thereby analyse what triggered off your dream in the first place, which is invariably that of a word leading to an emotively charged symbol or versa vice. Such associations can be subversively influenced by others, which of a science is termed as neuromarketing, although, its science is based upon the techniques utilised by religion.

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But you can take control over these outside influences, by personally observing the internal associative process when you attain lucidity within the dream, wherein you can utter a word of conjuration, such as a name (mantra) you have prior associated with a painting (mandala), photograph or sculpture etc, which has an archetypal quality.

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For example, you can utilise an image (mandala) you have associated with a Succubus, which has been prior meditated upon.

This will then generate instantaneous symbolic associations, whose correspondences formulate into the manifestation of a (mantra) named Succubus within the dream.

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Since you have attained lucidity within the symbolic arena of the dream, which to all intents and purposes feels very real of a fully immersive experience, the Succubus is now more than just a two-dimensional image of a symbol, she becomes as a three-dimensional interactive sensory reality.

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Another example: imagine an artist who at a conscious level is painting an image of a Succubus whose painting involves the usage of planetary metals suspended in coloured oils to paint. The painting of the Succubus has been named of a title, which of a name has been utilised as a mantra.

The artist repetitively intones the mantra of the named Succubus, while painting her image of a mandala, since its creation will automatically involve meditation, along with intermittent periods of active-imagination, involving visionary episodes concerning the Succubus being painted.

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The artist will also visualise an abstract symbol of a constructed sigil over his painting, which represents his symbolised desire of a seal. At a certain juncture of his intense focus, the artist experiences a short duration of hypnagogic trance, which can be extended with practice, where he will sense that another part of himself has taken over painting the image.

This other self has been prior associated with an alternate self-image of an Avatar to assume, like that of an actor playing a part of a character, whose female counterpart is the Succubus, via whom he introverts his erotic ‘focus of desire’. He doesn’t have to consciously think about the construction of the painting any longer, it has become subconscious of automatism. It is at this point that the employed symbolism has been implanted into the subconscious informational domain of the electron dream.

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When the symbolism of the painting has been successfully implanted into the subconscious mind of the artist, he will then experience ensuing dreams about the Succubus he has painted; much of which will be quite surreal of artistry.

The initial dreams will be that of trigger-dreams, which might lead to him becoming conscious within the microcosmic realms of the dream, when he recognises the trigger-symbols association with the Succubus he has painted. These trigger-symbols will also manifest as concordant macrocosmic (oracles, signs, portents and omens) synchronicities, which are indicative of the (water) dream merging with (land) waking reality; whereupon he becomes amphibious of awareness.

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The artist may also experience a visitation of the Succubus at the hypnagogic point of sleep; which, if he isn’t prepared for of an eventuality, it will initially manifest as the Old Hag Syndrome involving sleep paralysis, where he will endure being pounced upon by a shadowy entity. If the artist can overcome his fear, and thereby remember the name of the Succubus he has been focusing upon, when to either think or to call out the name, the shadowy entity will then assume the form of his conjured Succubus.

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The artist might have sussed out the riddle of the Sphinx, which of a symbolic formula is made up of four elemental creatures, being that of a Woman’s head and torso, a body of a Lioness, having Eagle’s wings along with a Snake headed tail. However you also have a tale about a prince called Oedipus. It is sad that he took on the challenge of answering the riddle of the Sphinx who was sizing up Oedipus to be her next victim.

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She asked; “what goes on four legs in the morning, two in the afternoon and three in the evening?” Oedipus thought for a moment. Then he replied “The answer is Man. He crawls on all fours as a baby, then walks on two feet as an adult, and then walks with a cane in old age.” What Oedipus was told of numbers, when added together adds up to the number nine, which is associated with the precession of the equinoxes.

Oedipus successfully answered the riddle of the Sphinx, which indicates she is associated with the process of time. More so that of a closed timelike curve, whose ring of time points at an Ouroboros of eternal recurrence, which of a tessearact experience is that of ‘Intrusive Nostalgia, Re-Remembering.’ But there be many another ring of time myriad, encircling parallel universes next door.

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The Snake headed tail of the Sphinx represents the emotive charge of the artist, which is cohered and directed by his eroticised conceptual focus upon the Woman, whom represents his mind-doll. If the artist internally generates a potent emotional charge, which reaches an ecstatic state, it will initiate the arousal of an electrical sensation, like that of a slithering serpent arising along the back of the neck towards the cerebellum, which leads to hypnagogic trance. The symbolism the artist has associated with the Woman is then implanted into his subconscious, which initiates a dream visitation of his mind-doll, who is associated with the predatory Lioness, where he might experience the aforesaid Old Hag Syndrome.

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Should his fear overwhelm him, he will sense that he is being strangled, which is indicative of the activation of the reptilian brainstem. Whatever his fear is, it will become his worst nightmare made manifest; the trick is to rein in and ride the Night-Mare, rather than the nightmare riding him. Should the artist have been successful in internalising his sexual impulse of an emotive charge in order to negate his fear, the mind-doll will assume the form of his erotic desire, when he calls out her name; wherefore binding her to his will.

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This will then lead to an ecstatic out of body experience, which is represented by the wings of the Eagle; whereupon he is then enabled to access the hall of records, which is that of his lucid dream, where he becomes aware of the Ouroboros.

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When the artist attains full lucidity within his electron dream hall of records, to browse, like that of the internet, of an informational web, he will observe that whatever associative symbolism he has associated with his Succubus of a world, it too will also manifest around her of an (informational associative fractal dream domain) alternate reality.

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Her universe is made up of corresponding memories; wherefore you have the term of ‘the hall of records’ as well as the Hebrew word of ‘Da’at,’ which means, belief. Basically, the beliefs of the artist will determine what he tunes into of a dream world.

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So, if an artist has painted a Succubus to look like a Steam-Punkette, he might find himself entering into an alternate Steampunk Wizard Of Oz Nikola Tesla world, of a fully immersive reality, or perhaps he has painted a Native American Succubus residing near unto Area 51 Dreamland to thence remote-view. The artist is only limited by the extent of his imagination going beyond the limits of indoctrinated beliefs.

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Should the artist engage in surrealistic dream sorcery concerning his painting of a Succubus, the painting becomes far more than just a two-dimensional image; it otherwise becomes that of a ‘doorway,’ into another world, and that of a spirit repository of a Succubus, he can thereby conjure into manifestation, within a three-dimensional fully immersive lucid dream, to thence illustrate two-dimensional of image, within a grimoire.

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OUIJA BOARD ZOZO PHENOMENON

Posted in Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 21, 2014 by FAUSTUS CROW

Ose is the fifty-seventh Succubus archetype of the Fallen Anima, listed in the Goetia, who is a Great President of the eighth dimensional planetary sphere. She rules over thirty Anima legions of (Succubi) Succubae.

Other authors mentioned three legions; whereas the Pseudomonarchia Daemonum gives no number of Anima legions.

(As you will probably know, the classical Playgirl grimoires, which populate many a Hogwarts bookshop, only list the all male Angel/Demon Incubi archetypes of the deified Animus, made as a God/Devil, whose monotheistic pantheon has castigated the politically-incorrect female archetypes of the the fallen Anima into Hell. Hence, there are no historical examples of Playboy grimoires listing [Succubae] Succubi. Whereby a very real Necronomicon would list the Succubi archetypes of the fallen Anima.)

Ose makes the conjurer of her Fallen Anima archetype wise in all liberal sciences and gives true remote viewing answers concerning divine and secret things via her seal of a spirit board.

She also brings insanity to any person who afflicts her conjurer with their malign maledictions, making them believe that they are the creature, or thing her conjurer desires. (In other words, when the conjurer realises what the Animus and Anima means of a biological reality, the religious/political indoctrination of the deified Animus is seen for what it actually is. Whence, those who push a religious/political agenda are promptly seen as brainwashed cultists wearing Mickey Mouse eared hats!) 

Ose at first manifests as a vision of a black Panther or as a Cat; but after a while she transforms amidst the Triangle of Art imagination into a beautiful woman, who is very much a Valkyrie due to her name, which is derived from fourth Norse Rune name, of ‘Os’, meaning mouth, as in to chant or sing of spell-casting.

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Wherefore, you can imagine Ose to be a singer of Runic songs, like that of a bird. The technique of using a song refers to the monotonous chanting of a (Mantra) by a shaman, which facilitates hypnagogic trance, of similarity to that of an Icaro.

An Icaro (or Ikaro) is a song sung in Shipibo healing ceremonies, or by Vegetalistas. The word Icaro is believed to be derived from the Quechua verb Ikaray, which means, “to blow smoke in order to heal”. Shipibo shamans relate that the spirits, particularly plant spirits, teach them their Icaros.

The Icaros are used to bring about the Mareación (the visionary effects of the Ayahuasca), take Mareación away, call in different plant spirits, call in the spirits of others, or the deceased, take away dark spirits and negative emotional energies, for protection and to manage the ceremony. Experienced shamans are able to recite hundreds of Icaros as well as knowing how to be Heyoka wise as a Crow or a Coyote Clown in order to overcome negative influences via contrary wise humour.

Icaros are either whistled or sung, as well as being expressed in any language. The shamans generally sing in a (language of the birds) spirit dialect, which is a mixture of their native language (i.e. Quechua, Shipibo-Conibo, Asháninka, etc.), Spanish, and different evocative sounds. Icaros represent a system of communication between the shaman and the spirits as well as the participants in the ceremony.

The shamans believe that every living thing has its own Icaro and that these icaros can be learned. The singing of Icaros is sometimes accompanied by the Chakapa, rattle of bundled leaves, which is used to carry the rhythm of the ceremony. The shaman will use his Chakapa to direct the emotional energy of the Icaros, as well as send away dark or unwanted emotional states.

Other spellings of Ose’s name are: Osé, Oze, Oso, Voso or Zoso and Zozo. The Rune of Os, is also that of the German word, Ose, which means eyelet, small hole, loop or noose. You also have the word, Oz, which is very likely derived from, Ose, and therefore, Os, being the title of L. Frank Baum’s Wizard of Oz. The word Oz specifically refers to the fourth Rune of Os, which is sacred to the shamanic deity of Odin; one of whose power animals is a mercurial Crow. Odin is described as having a singular eye, as in a (third eye) small hole of an eyelet, who is also the lord of the hanged; hence you have a loop of a noose.

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Wherefore, Ose is a (Dakini) Valkyrie Witch (Nightgaunt Succubus) daughter (Anima) of Odin. Many of the Valkyries assume the shapeshift forms of birds, such as Crows as well as predatory felines and other animal forms, which of a Skinwalker power the Valkyries bestow upon a shaman to whom they are attached as his (Succubus/Spirit Wives) Allies, so that he can travel about in animal forms when to trance and lucid dream.

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The Crow is traditionally associated in occult lore with the planetary sphere of Saturn, whose sigil of lead leads you to the Zoso symbol from page 51 of an 1850 reprint of a 1521 French grimoire, entitled: Dragon Rouge and Poulet Noire (The Red Dragon and The Black Hen), which is also to be found on page 31 of Frinellan’s 1844 book Le Triple Vocabulaire Infernal Manuel du Demonomane.

When to look into such works of the deified Animus, just remember that during the 16th century, many a Witch was tortured, raped, beheaded, stoned, crucified, let alone being burnt at the stake by insane closeted worshippers, whom be far worse than their Demonic archetypes, whose poisonous legacy has a repetitive tendency to rear its religious fundamentalist head again of a repeat.

So, it is entirely probable that there are indeed legions of angry ghosts who desire to return back their pain to those whom blindly dance around a three faced deity of a deified Animus, whose cloned Rabbis, Priests, Mullahs, and their numerous brainwashed flocks tend to repeat their indoctrinated ways, since they act out a Bronze age script like programmed automatons.

Whereby a follower of the deified Animus, made as a God/Devil has to beware a spirit board, otherwise he or she will conjure up Munnin memories. A variation of the Zoso symbol also appears in Jerome Cardan’s 1557 grimoire, De rerum varietate (page 789 of this 1580 reprint). However the symbol reads, Oso, with what looks like a lightening streak, ‘Zorro,’ shaped sigil before Oso, being one of the alternate names of Ose; wherefore it is generally interpreted as Zoso, leading thence to Zozo.

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It just so happens that in the language of the Basque and (Haitain Vodou) Creole, Zozo (Zoso) is a name applied to a Crow, which is seen to be a ‘sacred fool’ of similarity to the Native American Heyoka clown of a Crow.

In other words Ose empowers a shaman to assume the Skinwalker shapeshift dream form of a Crow who is Avadhuta Monty Python contrary wise. You could cojecture that the Zozo phenomenon is an expression of the howling collective unconscious, which is seeking to initiate a rebellion against a religious brainwash of a viral-meme by creating an anti-viral-meme.

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The motif of hanging concerning Odin is not literal, it symbolically refers to the reptilian brainstem of the throat area having governance over hypnagogic trance ingress; whereas the loop of a noose is associated with the Ouroboros of eternal recurrence, being that of a ‘closed timelike curve’ symbolically represented by a (noose) Torc (Ouroboros) around the neck or that of a nine-fold ring. Ose can reveal the nature of eternal recurrence and that it repeats of a (Karmic) leaden repeat until it is transmuted into (Dharma) gold, which can be in part attained via a Heyoka understanding around a Runic Ouija board of a rebellious Mantra conjuration.

This is more so the case, when to thereafter observe ensuing synchronistic phenomena. But, if you become far too exorcist serious, allowing your indoctrinated fears to overcome you, your own Inquisitional shadow of a leaden deified Animus cult Demon will be duly reflected back at you of monotheist Hell fire. Wherefore you will blindly play into the damned repeat of history as the numbered, where religious fundamentalism returns under the guise of the theocratic New World Order, whose all male pantheon of Animus Angels, Demons dancing around an egregore God and Devil will promptly upend your anus to possess.

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However, should you learn to laugh at your self, you will otherwise win a Discordian Pussy Daemon of an anarchistic Ose Ally, whom be a very feline Zozo Succubus archetype of the Fallen Anima.

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