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GOBEKLI TEPE SHAMAN

Posted in archaeology, Chaos Magic, Shamanism, Sorcery, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 14, 2017 by FAUSTUS CROW

Göbekli Tepe, is an archaeological site atop a mountain ridge in the Southeastern Anatolia Region of modern-day Turkey, approximately 12 km (7 mi) northeast of the city of Şanlıurfa.

What makes Göbekli Tepe unique is the date, when it was built, which is roughly twelve thousand years ago, circa 10,000 BC, going way beyond anything Hollywood can misdirection conjure up.

Archaeological artefacts have been discovered at Göbekli Tepe, one of which is an image of a human, wearing what looks to be a bird mask in profile, having a pronounced singular (Sun) ‘eye,’ whose spine is represented by the recognisable (Caduceus) symbol of two entwined serpents forming a double (DNA) helix. There are also nine spheres, whose number is considered to be very important in shamanistic systems. The number nine is usually associated with nine spheres of consciousness, planets, worlds or dimensions, which are personified as deities, the nine Rishis and their corresponding ‘wives,’ or as the nine ‘Muses.’

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The motif of the serpent is found elsewhere in Göbekli Tepe along with anthropomorphic bird imagery. The symbolism of the serpent and the bird is well known of in shamanistic practices across the globe. The serpent and bird (feathered serpent) points at the experience of (hypnagogic) trance. When experiencing (hypnagogic) trance, the practitioner experiences the sensation that he/she is swimming like an amphibious fish/serpent in the ‘watery’ realm of the (lucid) dream, which is also equated with (nine planets) space. The serpent describes the experience of an energy rush within the body, which feels as if it is moving up the spine (Chakras/endocrine-system) towards the top of the head, when inducing (hypnagogic) trance.

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This then leads to a ‘flying as a bird,’ like that of becoming a (inner Sun) winged-eye, of an Out Of Body experience, experiencing inner visions:

“In their visions, shamans take their consciousness down to the molecular level and gain access to information related to DNA, which they call “animate essences” or “spirits.” This is where they see double helixes, twisted ladders, and chromosome shapes. This is how shamanic cultures have known for millennia that the vital principle is the same for all living beings, and is shaped like two entwined serpents (or a vine, a rope, ladder…). DNA is the source of their astonishing botanical and medicinal knowledge, which can be attained only in defocalized and “nonrational” states of consciousness, though its results are empirically verifiable. The myths of these cultures are filled with biological imagery, and the shamans metaphoric explanations correspond quite precisely to the descriptions that biologists are starting to provide.”

Jeremy Narby – The Cosmic Serpent, DNA And The Origins Of Knowledge.

Jeremy Narby is a Canadian anthropologist and author. In his books, Narby examines shamanism and molecular biology, and shamans’ knowledge of botanics and biology through the use of entheogens across many cultures.

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Narby has spent several years living with the Ashaninca in the Peruvian Amazon cataloging indigenous use of Ayahuasca.

Dr. Matthew Clark Post-Doctoral Research Associate, SOAS (affiliate), postulated that the ancient Vedic drink of India called Soma could have been an Ayahuasca analogue. If so, a certain pillar in Göbekli Tepe could be describing the Soma preparation of an Ayahuasca counterpart. This would require the plant materials being mixed and crushed together, using ritualistic ‘handled’ tools for the purpose of creating a (Scorpion) poison, which initiates the little death of (hypnagogic) trance.

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There is also an image of an anthropomorphic bird, looking at a circle it is holding, which could represent a sphere, perhaps it is the Earth? If so, they knew that the Earth was spherical, twelve thousand years ago. That or the sphere is an ancient (Soma) pill; but then, both the Earth and a sacred hallucinogen would be seen as being one and the same, all are connected. There are also other symbols, which look like Runes; one of which looks like the 15th Norse (Valkyire) Rune, called Algiz. Although, said (Valkyrie) Rune, in its infancy probably pertained to the motif of the tree and in turn the axis-mundi of the spinal column, and its (Autonomic/Central – Nervous System) three-nerve-channels, which in Hinduism is symbolised by the trident wielded by the shamanic deity called Siva, who partook of (hallucinogen) Soma.

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Little wonder then that the established monotheistic religions are getting in on the act, who are laying claim to Göbekli Tepe as their own to ‘brand,’ since the symbolic focus upon the Middle East has been knocked, which is due to Göbekli Tepe far predating their religious cultural-constructs.

(Much of the shamanistic symbolism has been appropriated by the monotheists, who do not understand it. For example, the symbolism of the horned ‘Cow’ or ‘Bull’ and that of other horned animals are associated with the horns of the shaman, which describe the hemi-synchronisation of the hemispheres of the brain, when accessing [hypnagogic] trance. The shaman will [Serpent] experience the [hypnagogic] trance sensation of having [Cow/Bull] horns growing out of his/her head, or to feel he/she is wearing a crown, or feeling as if his/her head is [pharaoh crown] elongating. This then leads to accessing the inner [Spider] web, which interconnects all things.) 

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However, Göbekli Tepe didn’t just appear out of nowhere, the site was very likely interconnected with other sites. These other sites could potentially far predate Göbekli Tepe, which are yet to be discovered.

That’s if they haven’t been destroyed, since their discovery will totally shatter the theological politics of the monotheistic religious constructs, who are seeking to keep the focus on the Middle East.

(One of the motifs you find in the Middle East is the worship of ‘fire;’ however, this is also known of by other peoples, such as the nomadic Aryans and Mongolian peoples of the steppe, etc. The fire represents the inner [bio-photon] fire, which is associated with the [Mitochondrial DNA] serpent.)

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However much they try to lay claim to Göbekli Tepe their fixation upon a deified ‘Animus’ made as a God, just keeps on getting in the way, which invalidates their shared symbolic constructs of theological politics.

(The monotheists tend to be anti-sex, whereupon when confronted by serpent symbolism, which has a phallic association, they cannot handle it. When accessing [hypnagogic] trance, the conscious awareness of the practitioner is seen to be fertilising the womb of the [lucid] dream, giving birth to visions. The phallic symbolism of the serpent also alludes to the shamanic usage of Psilocybin mushrooms.)

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Their religious cultural constructs are not important here at all, anyway, it is the inner experience, which is of importance; for it is the legacy of everyone upon the planet, which cannot be ‘branded,’ nor owned by any religious cultural construct.

What has been noted is the similarity between the Kundalini Shakti of Yoga practice, out of ancient India and the Göbekli Tepe symbolism of the entwined serpents. The arousal of the Kundalini Shakti (‘Fire’ snake/goddess) is experienced as an inner energy arising along the (Chakras) spinal-column, which then strikes the back of the head like a ‘Scorpion’ sting; this then engenders (hypnagogic) trance visions of the (Muses) Dakinis, the American ethnobotanist Terence McKenna would have equated with his mechanical Elves. The anthropologist and author Carlos Castaneda called the Dakinis, ‘Allies,’ which he described as being an inorganic feminine intelligence associated with power plants. (The stele below is of Siva and two entwined [Caduceaus] serpents from South India) 

This has led to the monotheists getting into a rumble with the animist Hindus, who have come to a shaky agreement that the name of monotheist Abraham could be linked to the animist Hindu deity called Brahma, should you use dodgy etymology as well as moving the letters of Brahma’s name around; they even threw in Siva for good measure. I kid you not!

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But the experience of the Kundalini Shakti is known of in other cultures, under differing names, which of a symbolic communication has its source in ancient shamanistic practices. For example, the symbol of the (Kundalini Shakti) Caduceus was originally carried by Apollo, who it is said had migrated from Hyperborea, which is the ancient Greek name for Siberia.

(The specific Hyperborean area in question could be the Altay [Altai] region of Southern Siberia, which had been hit by a massive Atlantean inland flood during the last ice age. This also ties in with the intriguing genetic findings of the 2012 genome project concerning a genetic cradle from the [Altai] Altay to Lake Baikal that a number of dispersed peoples share.) Apollo then exchanged his Caduceus with Hermes for his seven-stringed lyre, when Apollo eventually reached the land of the Hellenes.

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As for shamanism, it is not and never was a religion, it has no dogma, nor religious texts, it is otherwise that of a system of ‘experiential’ techniques, which enable consciousness expansion. Shamanism is essentially the science of consciousness, anyone can engage in exploring.

When symbol systems are employed as ‘tools’ by shamans, the primary symbolism alludes to experiences of the inner reality, such as the serpent representing the energy rush of (hypnagogic/Phase) trance, the bird symbolising (OOBE) ecstasy, while other animals would represent differing states of consciousness, along with symbolism referring to being re-birthed from the inner visionary world of the (lucid) dream.

Wherefore you will  find similar symbolism across the globe, which is due to our shared neurology and DNA, linking us with other life-forms, like that of being connected by a ‘Spider’s’ web.

(This does not mean that the exploration of the inner reality is disengaged from probable stellar observations, which have been noted at Göbekli Tepe, the two mutually support each other. The star-clock indicates [circadian rhythm] key-times for [hypnagogic] trance ingress into inner space.) 

Whereas a religion has a total focus upon the symbolism of a particular culture, which tends to bury the primary symbolism of an inner experience, to either negate, or keep secret, that, or demonising it. The reason why religious constructs do this, is because, it’s priests who attain power and influence over others, do not want you becoming aware of your own shamanic legacy. Should you become aware of your own inner reality, the priests of the established religious construct will then lose their illusory power over you and others, which they do not want. Otherwise they’re out of their big-business; no more Shekels!

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You can thereby conjecture as to why the builders of Göbekli Tepe later buried what they had built, who may have had the visionary foresight to protect it for their future descendents to rediscover. It does appear they were fully aware that a religious construct and its priests would have destroyed what it communicates of a shamanic legacy.

You might think that all of this sounds crazy; But there are other sites of interest, which may be of similar importance to Göbekli Tepe, the archaeologists are yet to investigate, if they ever do so, since these sites are no doubt considered as being dangerous to those who seek to keep their academic reputations intact, but more so by the present establishment.

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The monotheistic religious constructs have been around for a very long time, their shared establishment is very much entwined with politics, finance, the acquisition of land, material assets, having control over the world’s need for water, food and energy, etc, whose ‘Animus’ fixated symbolism permeates your language and every level of culture.

Hence, they do not want such discoveries being made, since it will utterly destroy the illusory symbolic focus on the religious politics of the ever warring Middle East, upon which your present ‘Oil’ dependent culture is entirely based.

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NOTE: The ancient Greeks most often associated Apollo’s name with the Greek verb ἀπόλλυμι (apollymi), “to destroy,” which is of similarity to the Hindu deity Siva, who is known as the destroyer. However, Siva destroys the illusion of [belief/Ring-Pass-Not/Limit] form, which is that of a rebellion against the accepted norm, symbolically equating with war, this leads to questioning the reality, upheld by an establishment; Siva is an anarchistic evolutionary force, who in many respects represents what a scientist should be.

Apollo is also associated with the ‘serpent’ and with ‘light.’ Hence he was seen to be a titan of the Sun; whereas, his twin sister, Artemis was associated with the Moon, whose Roman name Diana-Lucifera, refers to her being the mother of ‘fire,’ of similarity to the Altaic, Yal-un eke, the Hindus would call the Kundalini Shakti. Apollo’s association with light, is that of the inner light/fire [Diana-Lucifera/Yal-un eke] illuminating your [bio-photon] dreams.

In this context it then links Apollo with the “Southern Siberian” Altaic name, Odqan, which means, ‘Fire King,’ this then leads you to the Norse shamanic deity called Odin, the Saxons called Woden, whose name means ‘Light/ecstasy master,’ who has similarities with Siva and in turn with Apollo. Overall, Apollo – Siva – Odin/Woden was probably a deified [Altaic/Odqan] shaman.  

In regards to the term, Altaic, it is a proposed language family of central Eurasia and Siberia, including the Turkic, Mongolic, and Tungusic groups, which are invariably included in the family. These languages are spoken in a wide arc stretching from Eastern Europe, through Central Asia to Anatolia [Göbekli Tepe] and to the Korean Peninsula and Japanese archipelago in East Asia. The group is named after the Altai mountain range in Central Asia.

The Altaic language group is considered to be highly controversial, as many linguists think that the common features of alleged Altaic languages resulted from borrowing rather than descending from a common ancestral tongue. A few scholars, however, take the opposite perspective and argue that Altaic is a genuine family. It just so happens that many of the peoples speaking these languages appear to have a curious [2012 genome project] genetic link with the [Altai] Altay.

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HOGWARTS SUCCUBUS SCHOOLGIRL

Posted in Art, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2015 by FAUSTUS CROW

The Sixty-second Spirit of the eighth dimensional planetary sphere is Volaca, or Valaki, or Valuna. She is a President Mighty and Great, who appears as a mercurial Schoolgirl Witch with Bat Wings, riding on a Two-headed Dragon of a broomstick looking like the Caduceus of Hermes; for she be akin to the ancient Greek, Hermione.

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Her DNA Helix Office is to give True Answers of her Hidden Treasures, and to tell where slithering Serpent Girls may be seen of Ouroboros Eternal Recurrence, for her master to remember upon a synchronicity.

The which of a Closed Timelike Curve she will bring unto her master without any Force or Strength being by him employed, to know again, if he so desires it, of eternal return déjà vu intimacy.

Her master will then come to an understanding of the ever repeating lessons of her dream school, which are taught to ‘increase his intelligence.’

But only if he remembers, so as not to repeat; for if he does so, he will forget, repeating everything like a programmed automaton, blindly following the blind. When to remember, to choose otherwise, rather than to blindly repeat, he attains true sentience; let alone potentially changing the world of a Butterfly Effect.

She governeth thirty-eight Legions of Succubae schoolgirl Witches, and her Seal is to be meditated upon before conjuring her.

Goetia Surreal – S. L. MacGregore Freemason Matherson

It is conjectured by some physicists that electrons are mini-wormholes; of course they are far too small for an individual to physically access. But your spermatazoic consciousness can, when to impregnate a lucid dream of an inner school.

The sensation of movement through a wormhole would be symbolically translated into stairs, or lifts; whereas the wormhole bubble would manifest as vaginal doorways, womb caves, or as uterine tunnels within the symbolic interface of the electron dream.

For example, you have the Yoni tunnel, which is often spoken of by those who have experienced a Dr Who Near Death Experience.

Although it could just as well symbolically manifest as a time-tunnel ‘hallway’ of a spiraling stargate, leading to a classroom of an alternate possibility, via which of a microcosmic reality you can communicate back to yourself upon a macrocosmic synchronicity, in order to Ouroboros remember.

The above photomontage of a knit-together Frankenhooker Mind-Doll, is that of a Surrealist Exquisite Corpse, which of a prior meditative act of a two-dimensional artistic creation, enables the Sorcerer Artist to summon her as a three-dimensional interactive Tulpa, within a lucid dream.

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PONYGIRL TIME TRAVEL WITCH

Posted in Alien, Art, Chaos Magic, Dr Who, Ghost, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 14, 2015 by FAUSTUS CROW

The artwork above depicts an alternative version of the fifty-fifth spirit called Orobas, who is listed in the the Grmoire, entitled the Goetia. The conjuration of Orobas has been popularised among the occult fraternity by the American author, lecturer, musician and occultist, Lon Milo Duqette, who described summoning Orobas in his autobiography: My Life With The Spirits. Duquette’s conjuration of Orobas occurred before his ascent to fame, which at the time had initiated some intriguing synchronicities.

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Orobas is classically described as being a male entity, who initially manifests as a small ‘Horse,’ before assuming human form; whereby, when you reverse the all male symbolism of the Playgirl grimoires, to otherwise have a Succubus, you then have the symbolic motif of a Ponygirl, who is also a Witch, to name as Orobasi.

The name of Orobas is derived from the word: Ouroboros, which is a term for an ancient symbol of a snake eating its own tail.

The symbol of the Ouroboros describes, Eternal Recurrence, which a physicist would otherwise term as a closed timelike curve; this leads you to time-travel, hence that of the symbolic association with Doctor Who’s TARDIS.

The shamanic deity of Norse mythology, called Odin, the Saxon’s named as Woden, is the ancient forerunner of Doctor Who.

Odin, rode an Eight-Legged-Mare called Sleipnir, which can be equated with Doctor Who’s TARDIS.

The artwork is a depiction of an ‘Out Of Body Experience,’ of which the dreamer is carried by the Ponygirl, Orobasi through time, within a lucid dream as Doctor Who, of a youthful memory.

Then again, perhaps the dreamer has departed from this mortal coil. What the dreamer, or discarnate soul of the individual to then experience is somewhat similar to Little Nemo In Slumberland; although his out of his ‘Skull’ Bardo adventures are somewhat ‘Crossbone’ trance ‘X’ rated.

This leads to his future self being able to influence his own past via a self induced lucid dream, which of an ability is symbolised by (Orobasi) the Ouroboros.

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Basically, he possesses his own self, and should he remember his future self, now as a dream, to once again awaken as a youth, he is then able to recreate himself anew; for his elder self has beckoned back through time via his own dreams by riding Orobasi.

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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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SUCCUBUS SPIRIT WIVES OF THE YAKUT SHAMAN

Posted in Alien, Art, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 7, 2014 by FAUSTUS CROW

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Like many of the indigenous peoples of Siberia, the Yakuts practiced shamanism, who originally lived around the Olkhon and the region of Lake Baikal.

But during the 13th century they migrated to the basins of the Middle Lena, the Aldan and Vilyuy rivers under the pressure of the rising Mongols, where they mixed with other Northern indigenous peoples of Russia, such as the Evens and Evenks.

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By the 1820’s almost all the Yakuts had been forcefully converted to the Abrahamic faith of the Russian Orthodox church, although they rebelled against this onslaught in order to retain their ancestral-self-identity.

However, during the late 1920’s through the late 1930’s, the Yakut people were systematically persecuted, when Joseph Stalin launched his collectivization campaign. Hunger and malnutrition resulting from the period of persecution resulted in a decline in the Yakut total population from 240,500 in 1926 to 236,700 in 1959.

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By 1972, the population began to recover. The Yakuts presently form a large plurality of the total population within the vast Sakha Republic.

The Sakha Republic is one of the ten autonomous Turkic Republics within the Russian Federation. Even though the Yakut have suffered much under the yolk of Christianity, let alone fighting off Islam to then be hit by the Soviet regime, they still practice their ancestral legacy of shamanism; whereas the Abrahamic invaders of their land have entirely forgotten their own ancestral-self-identity.

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The Yakut shamans know of Succubae who are considered to be spirit wives. They are usually seen to be the spirits of deceased women who become Succubae.

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Although, some of the Succubae are constructed as thought-forms, of similarity to the Tibetan sorcery technique of the Tulpa.

During the 70’s an experiment was conducted by a group of Canadian parapsychologists who utilised the shamanic technique of creating a Tulpa. The experimenters successfully created a ghost, which generated poltergeist phenomena.

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The Canadian experiment was later repeated by a group of Australian parapsychologists based in Sydney, who created a Tulpa of a girl, they named Skippy Cartman, which also generated observable poltergeist phenomena.

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A shaman does likewise, who artistically creates spirit wives for specific poltergeist tasks. It is from these spirit wives the shaman derives much of his shamanic abilities, who are collectively called Abassi.

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Other spellings of the term Abassi are: Abaaht, Abasy, Abaasy or Abassy. When the Abassi sexually interact with a shaman within his lucid dreams, he knows he will soon be called upon to heal a patient.

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The Abassi maidens are seen to reside in an otherworldly domain called Mᾱnarikta Challan, the heaven of the spirits of ecstasy. (Shternberg 1935, p.246ff)

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However, there are darker accounts of the Abassi, which are very likely entwined with cultural sexual taboos. According to other Yakut informants, the Abassi are alleged to be the spirits of long-time deceased women who dwell near graves, or in deserted places, or to otherwise travel around as predatory Witches invading the dreams of the living.

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In these accounts the Abassi inhabit the underworld rather than a heavenly abode.

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The shamanic perspective of heaven and the underworld alludes to shifts of consciousness, which the Abassi enable a shaman to experience.

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Heaven refers to a shift of consciousness above the (cerebrum) head, where the shaman will sense he is flying up into, and through, a vaginal star barrelled tunnel into another planetary (parallel universe) sphere.

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As for the underworld, it refers to a shift of consciousness to the (cerebellum) back of the head, where the shaman experiences falling backwards into a great void before attaining ingress into the (alternate Earth’s/eternal-reccurrence) ancestral spirit world. Basically, the Abassi enable (hypnagogic) trance ingress into both (brain) domains.

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The Yakut generally have two types of shamans, the black shamans, who interact with the Abassi, are called, Abassy-oïuna, and the white shamans, whose practitioners are called Aïy-oïuna, do not engage themselves with Abassi.

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The ‘black shaman’ among the Yakut bares no comparison whatsoever to the Western counterpart of an Abrahamic Satan worshiping black magician, since shamanism is not a dogmatic religion, it is a system of techniques, which enable consciousness expansion.

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The black shaman helps people no less than the white shaman does, who occupies a higher position among the Yakut than the white shamans.

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The black shaman is very much akin to the blacksmith; hence the numerous references to iron concerning the Abassi, who are associated with an inner (light) fire, illuminating his ‘Triangle’ Of Art Imagination.

The difference between the black shamans and the white shamans is more to do with their roles in society.

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The black shamans tend to be very much like neuro-scientists, who specifically deal with the inner realms via their microcosmic dream interactions with the Werewolf Abassi maidens flying as seven Cranes.

Whereas the white shamans are the priests, whose priestly role involves conducting traditional ceremonies, which requires a sense of macrocosmic purity.

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Because the white shamans conduct ritual gatherings and ceremonies for the tribe, it is seen to be unseemly for a black shaman to do so, due to his rather chaotic sexual interactions with the Abassi.

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The concept of the Abassi is so ingrained into Sakha thought that the verb абааһы көр- (to see Abaasi) is the everyday term for, ‘to hate’ or ‘to dislike.’

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This is due to the fact that the Abassi are seen to be sexually perverse ghost girls who are said to have teeth of iron, and like vampires they thrive upon the taste of blood.

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But it isn’t red blood we are talking about here, its (wet dream) white blood, semen. Hence the normal folk greatly fear the sexually perverse Abassi, whereas black shamans cohabit with them of Tantric dream (blacksmith) alchemy.

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What the black shaman to communicate, is that the Abassi, are likened to (planetary) metal (shield/seal) mirrors.

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As spirits of the ‘mirroring’ dream, they will reflect back, what the horned shaman has to face about himself, of self hate and disliking his shadow side, in order to (blacksmith-dismember and rebuild: solve et coagula) transform, via his interaction with the Abassi, whose fire forges his iron will.

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There are descriptions of the Abassi travelling around in predatory packs of seven, which alludes to the seven (metals) planetary spheres of the (endocrine system) Chakras, as described in many a medieval grimoire, such as the Goetia, for example.

The Abassi are sometimes described as being ‘one-eyed one-armed, one-legged’ monstrous warrior Witches mounted on ‘two-headed, eight-legged, two-tailed dragons as steeds.’

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Or to otherwise manifest as dragon like creatures with a large tail of similarity to the Hindu Nagas, which would no doubt freak out a David Icke devotee.

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The reptilian motif of the Abassi refers to the reptilian brainstem, which governs over your depth of (hypnagogic) trance and dream states. The experience of (hypnagogic) trance is termed as the little death.

It is via the dream that a shaman can access the future and the past, like that of a two faced head, looking in opposite directions. Whereby the Abassi rides a two headed, two tailed dragon, likened to a time-machine.

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The Abassi enables the shaman to travel over the dream web interconnecting all things, throughout space and time. Wherefore, the steed of the Abassi has eight legs like a spider; for they are one and the same, who are the Night-Mares the shaman to ride.

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The Abassi are more akin to the Hindu version of the Succubae, called Dakinis who also have reptilian motifs associated with them, which refers to the Dakinis inducing the arousal of the Kundalini Shakti (fire snake) along a shamans (world tree/nervous system) spinal column.

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This will lead you to understanding why the Abassi are described as being one-eyed, one-armed and one-legged like a ‘column,’ who personify the world tree, the Yakut call, Aal Luuk Mas .

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In the Olonkho, which is a heroic epic tale of the Yakuts, and one of the oldest epic arts of the Turkic peoples, the Abassi are ugly and horrible man-eating beings, which alludes to the Abassi initiating a shamanic illness in prospective shamans, whose consciousness the Abassi then alchemically transmute into evolving.

The chief shaman of the Abassi is Alyp Khara Aat Mogoidoon, who is described as being a (past, present and future) three-headed, six-armed and six-legged giant with a blacksmith body made of iron. Alyp Khara Aat Mogoidoon can e seen to look lke a raging Tibetan Buddha, seated, enthroned amidst a hexagram, which of a symbol, represents sexual union. The hexagram (sexagram) is utilised to conjure up the warrior maiden Abassi, whose elemental weapons have been forged by Alyp Khara Aat Mogoidoon.

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(You also have the Circadian rhythm [six-armed, six-legged = 12] Zodiac [Kalachakra] and its 36 Decans to go 72 of number.)

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The erotic arousal of the Kundalini Shakti is experienced as a liquid (fire) light, which, as mentioned, ascends the spinal column; more specifically that of along the back of the neck, which of an experience is termed as the ‘rush’ in modern trance dance culture.

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This liquid light, illuminates your electron dreams, which refers to the bio-photon emanating from amidst the mitochondrial DNA. The mitochondrial DNA is passed down from the mother to her children.

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Whereupon, the liquid (fire) light is intuitively experienced by the Yakut shaman as being the menstrual blood of the Abassi, which is considered to be poisonous.

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The reason why the liquid (fire) light is considered to be poisonous is because it induces shamanic (hypnagogic) trance, which is seen to be the little death.

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The ghost girl Abassi serve Arson-Doulai, the ruler of the dead, who also swallows (shift to the back of the head) people’s souls and gives the living (eternal-recurrence) diseases.

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Whereby the Abassi spirit (shaman doctor) nurses can heal said diseases, who as warrior maidens fight against malign influences.

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This is the reason why the black shaman, though feared, is sought out by those who are in distress. The black shaman is considered to be a powerful healer, which enables his high standing in Yakut society.

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The predatory Abassi are said to be appeased by ejaculatory blood sacrifices. However this is not literal, it otherwise refers to the Abassi requiring ’emotionally charged sexual rites’ for their Tantric conjuration.

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This involves the introversion of the sexual impulse via intense erotic visualisations and meditation, which empowers lucid dream contacts with the Abassi.

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Wherefore the black shaman attains ‘mastery’ over the inner ‘fire.’

In the Southern Siberian Altaic language of the Altay, you will find the name of Odqan, which means fire king. It is from Odqan, the name of the shamanic deity of the Norse is derived, who is called Odin, the Saxon’s knew as Woden.

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The black shaman Odin had his Abassi too, who are called Valkyries, the Saxon’s knew as Waelkyries.

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As you can see, the European’s also practiced shamanism, who had strong ties with the Siberian peoples long ago. But then, shamanism is universal.

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GOETIA GIRL SUCCUBUS MARCHOSIAS RED BARONESS

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, Extraterrestrial, Goetia Girls, Horror, 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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“Marchosiasi is a great Marchioness, she sheweth herselfe in the shape of a cruell shee woolfe, with griphens wings, with a serpents taile, and spetting I cannot tell what out of her Vampyre mouth. When she is in a woman’s shape, she is an excellent fighter who rides a hellish Da Vinci flying invention, most godless Bat winged thing.”

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“She answereth all questions trulie, she is faithfull in all the conjurors businesse, she was of the order of dominations, under her are thirtie aerial legions of winged Succubae: She hopeth after 1200 yeares to returne to the seventh throne, but she is deceived in that hope.” PseudoMonarchia Succubus Sexualis – Johann Weird (1583)

“A great Marchioness of Hela’s womb, this rubedo bitch be, who commands 30 legions of Succubae. Marchociasi appears as a she-wolf with griffin wings and a serpent’s tail, and spit flames. In human form, Marchociasi appears as a female soldier, dressed all in red snake skin. She is very much a dominatrix, calling herself the Baroness; but she totally submits to the domination of her master, to do whatever is asked of her.” Dictionnaire Succubae Infernal – Collin de Plancie (1863)

“The Thirty-fifth Spirit is Marchosiasi. She is a Great and Mighty Marchioness, appearing at first in the Form of a Werewolf bitch having Gryphon’s Wings on her jacket, holding a Serpent’s Tail of a riding crop, and Vomiting Fire out of her Spandau machine guns.”

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“But after a time, at the command of the sorcerer she putteth on the Shape of a woman, who pilots a flying time machine looking like a Fokker Dr.I and other craft of which the military keep very secret; but if her master so desires it of ‘remote viewing,’ she will empower his far-sight to see what is kept hidden away. She will also tell how the Werewolves infiltrated the military industrial complex of America via Operation Paperclip.”

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“She is a strong fighter, who is an air ace as well as being of the Order of test pilot Dominations. She governeth 30 Succubae Legions of Valkyrie pilots. She told her shaman Chief, who was Woden, that after 1,200 years she had hopes to return unto the Seventh Throne of a future abode. And her Seal is this, to be made and worn as a Lamen, etc.” The Psychic Übermensch Aaron C. Donoho0 by Erin C. Donohoo (2012)

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