Archive for spirit wife

SHAMAN TRANCE TARDIS HORSE DRUM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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SHAMAN SPIRIT DRUM LUCID DREAMING

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 27, 2017 by FAUSTUS CROW

The Artwork depicts a Yakut Shaman, whose trance drum is symbolically seen to be the genie bottle abode of the his Spirit Wife, who visits him within his lucid dreams.

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The European classification of the Spirit Wife is usually based upon a medieval perception, which considers the Spirit Wife to be a demonic entity, called a Succubus.

Western psychology, during the Soviet era, once considered the Spirit Wife complex of Siberian shamanism and that of other shamanic cultures to be a mental aberration, or that of fantasy prone individuals indulging themselves in erotic delusions. However, the psychologist Carl Jung otherwise saw the Spirit Wife/Succubus as being an archetypal aspect of the ‘Anima.’

Jung saw the feminine archetype of the ‘Anima’ as being the personified intermediary with the psychic powerhouse of the subconscious, whose myriad female forms are encountered within ‘lucid’ dreams, from whom a Shaman derives his psychic abilities, an Artist is inspired by as his Art Muses.

The motif of the Spirit Wife is known to the Yoga practitioner as Shakti, whose numerous feminine aspects are called Dakinis, which is also very much part of Tibetan Buddhist dream Yoga practices as well as Siberian shamanism.

For example, the Goldi tribe of Siberia clearly distinguish between a female tutelary spirit, known as an Ayami, which in Western occult practice is of similarity to the (HGA) Holy Guardian Angel, (Jung would also see the HGA as being the ‘Anima,’) who chooses the shaman.

Whereas the helping spirits, (Jung would see as being the myriad aspects of the ‘Anima’) the Goldi call Syven, an occultist would call (Succubae/Succubi) Demons, which are subordinate to the Ayami. The Syven are granted to the Shaman by the Ayami herself. The Altaic name, Ayami means, ‘Silk Twisted In Beauty,’ as in a horse’s mane. The Siberian shaman in particular sees the drum as his Mare, who too is his Spirit Wife, whom he trance rides as an eight-legged female centaur into conscious dreaming.

According to the ethnologist and anthropologist, Leo Sternberg, the Goldi explain the relations between the Shaman and his Ayami by a complex sexual emotion. Below is an experience related by a Goldi shaman:

“Once I was asleep on my sick-bed, when a spirit approached me. It was a very beautiful woman. Her figure was very slight, she was no more than half an arshin (71 cm.) tall. Her face and attire were quite as those of one of our Gold women.

Her hair fell down to her shoulders in short black tresses. Other shamans say they have had the vision of a woman with one half of her face black, and the other half red. She said: ‘I am the “Ayami” of your ancestors, the Shamans. I taught them shamaning. Now I am going to teach you. The old shamans have died off, and there is no one to heal people. You are to become a shaman.’

Next she said: “I love you, I have no husband now, you will be my husband and I shall be a wife unto you. I shall give you assistant spirits. You are to heal with their aid, and I shall teach and help you myself. Food will come to us from the people.”

I felt dismayed and tried to resist. Then she said, “If you will not obey me, so much the worse for you. I shall kill you.”

She has been coming to me ever since, and I sleep with her as with my own wife, but we have no children. She lives quite by herself without any relatives in a hut, on a mountain, but she often changes her abode. . . . Sometimes she comes under the aspect of an old woman, and sometimes under that of a wolf, so she is terrible to look at.

Sometimes she comes as a winged tiger. I mount it and she takes me to show me different countries. I have seen mountains, where only old men and women live, and Villages, where you see nothing but young people, men and women: they look like Golds and speak Goldish, sometimes those people are turned into tigers.

Now my ‘Ayami’ does not come to me as frequently as before. Formerly, when teaching me, she used to come every night.’

She has given me three assistants-the ‘Jarga’ (the Panther), the ‘Doonto (the Bear) and the ‘Amba’ (the Tiger).

They come to me in my dreams, and appear whenever I summon them while shamanising. 

If one of them refuses to come, the ‘Ayami’ makes them obey, but, they say, there are some who do not obey even the ‘Ayami.’ When I am shamaning, the ‘Ayami’ and the assistant spirits are possessing me; whether big or small, they penetrate me, as smoke or vapour would.

When the ‘Ayami’ is within me, it is she who speaks through my mouth, and she does everything herself.

When I am eating the ‘Sukdu’ (the offerings) and drinking pig’s blood (the blood of pigs is drunk by shamans alone, lay people are forbidden to touch it), it is not I who eat and drink, it is my ‘Ayami’ alone.”

NOTE: The quoted material concerning the Ayami is derived from: Mircea Eliade, Shamanism, op. cit., PP. 72-3, quoting Leo Sternberg, ‘Divine Election in Primitive Religion’ (1924), PP. 476 ff. cf.. Shamanism, PP. 42l ff., for autobiographies of South-Indian Savara male shamans and female shamans, whose marriages to (Anima – Animus) spirits are in striking parallel to the documents collected by Sternberg.

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SHAMAN DRUM SIBERIAN TRANCE

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

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

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

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

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

 

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

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

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

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

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

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

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

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

 

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

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

Shaman Drum Siberian Trance by MARDUN

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

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

Shaman Drum Siberian Trance by MARDUN

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

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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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LILITH’S HAREM, PARALLEL UNIVERSES, ALTERNATE EARTH’S

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 30, 2015 by FAUSTUS CROW

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Did Robert Monroe, also known as Bob Monroe, (October 30, 1915 – March 17, 1995) experience accessing an alternate Earth, whose technology is right out of a Steampunk novel? Sounds like pure science fiction doesn’t it. Well, he did reveal, that he had actually done so, when consciously journeying into the quantum realms of the dream, who was an idiosyncratic pioneer of out-of-the-body experience (OOBE) research, which in turn encompasses lucid dreaming. His 1971 book, Journeys Out of the Body, is credited with popularizing the term, out-of-body experience.

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Munroe’s full name is Robert Allan Munroe, who was originally a radio broadcasting executive who became best known for his research into altered states of consciousness and founding The Monroe Institute. Many an individual who has had an OOBE, invariably investigates Monroe’s experiences in order to come to some understanding of their own out of body experiences along with gaining an insight into lucid dreaming.

Munroe’s research into altered states of consciousness, began during the straight laced 1950’s, just prior to the psychedelic 60’s, when his shamanic work really took off. Munroe produced evidence that specific sound patterns have identifiable, beneficial effects upon our capabilities. For example, certain combinations of frequencies appeared to enhance alertness; whereas others induce sleep; and still other (song/icaro/mantra) sound combinations evoke expanded states of your consciousness, which at the level of the ‘electron’ dream has the ability to ‘slide’ through inner doorways, into other realities.

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His extensive research was professionally assisted by specialists in psychology, medicine, biochemistry, psychiatry, electrical engineering, physics, and education, which led to the development of Hemi-Sync, a patented audio technology, which is claimed facilitates enhanced performance of your ‘quantum computing brain.’

Monroe was very precise when describing the methods, which he had developed for ‘Sliding’ into the astral worlds of the ‘Electron’ dream.

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He assiduously described the dream realms in great detail of nigh scientific scrutiny, which he divided into three specific regions with differing properties, terming them as being, ‘Locale I’, ‘Locale II’ and ‘Locale III,’ of a shamanic cosmology.

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According to Monroe, Locale I is our present everyday Earth. It is here where the Old Hag Syndrome is often experienced of a prelude to an out of body experience.

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Should the nightmare, which rides your fear be instead transformed into a Night-Mare for you to otherwise ride, the astral body is then enabled to leave its corporeal vehicle behind; whereupon it can then hover around the collective-mind-map, observing faraway places, visiting the abodes of friends or loved ones, experiencing precognitive information, accessing the past or even exploring the depths of space.

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But the dreamer is still constrained to his/her present universe, which is basically that of remote viewing from within the informational domain of the quantum dream.

In Locale II, the dreaming reality becomes far more surreal. This is the region where varying alien entities exist of similarity to what the author Carlos Castaneda termed as the inorganic intelligence of the Allies.

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Castaneda described the Allies as being a ‘feminine’ inorganic intelligence, which exists in a dimensional domain outside of three-dimensional (Maya/Matrix) space and time he called Penumbra, which of a visionary manifestation appears as a vast desert dividing worlds.

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The symbolic motif of the desert is utilised in the Cabbala for its thirteenth path, whose ascribed Hebrew letter is Gimel, meaning (Ally) Camel. The thirteenth path of the Tarot Card: The (Ally) High Priestess of the Silver Star, penetrates the hidden 11th dimensional sphere of Da’at.

It is at Da’at that the magician experiences his consciousness accessing an Abyss, which is the space between worlds. The Abyss (mini-Worm-hole/Silver-Star) is experienced (folding space) prior to attaining (Kwisatz Haderach) ingress into an alternate world.

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When Monroe’s consciousness accessed Locale II he would sometimes experience being hassled by nightmarish beings, who reflected back his fear, and in doing so, attempted to drag his astral self back to Locale I; whereby impeding his progress, and generally made his inner experience unpleasant as if these entities were seeking to block him from accessing Locale III.

What Munroe experienced regarding the assailing entities, is what many Siberian shamans to have spoken of. The shamans communicate that they are initially impeded in their trance ingress into other realities by Erlik Khan’s daughters, whom can assume Nightmare forms, until the shaman overcomes his fear of their father, who is death; after which they then become as his (Allies/Succubae) Night-Mare spirit wives, to thence ride into other worlds.

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However, Munroe stated, that Locale II was the ‘natural environment of the Second Body’, where thought translates directly to ‘bodily’ motion. The second body its self, although appearing of apparent human form, in relation to the dreamers memory of his/her physical body, is not its true form.

Locale III is where Monroe accessed an alternate Earth, via what he termed as being a (mini-wormhole) hole, into which he slid into an alternate reality. The alternate Earth to all intents and purposes exists within a parallel universe. Monroe experienced this alternate Earth as being a material world, whose reality is almost identical to our own.

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But there were differences, as Munroe described: “There are no electrical devices whatsoever.” Munroe observed that the transport of this alternate Earth utilised steam-driven locomotives, which sounds like a Steampunk cross between an American motor-home and a High-Speed Train, which hauls wooden cars. The automobiles of this alternate Earth were twice as wide as Munroe’s own equivalents, which are driven along huge roads at a sluggish 15-20 mph.

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After several slides into a parallel universe of Locale III, Monroe discovered an alternate Earth inhabitant who was his (alternate-self) doppelganger. Monroe involuntarily enters into his double’s body; whereupon embarrassment and confusion ensues, which often involved a Steampunkette woman called Lea.

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It just so happens that the name of Lea is etymologically connected to the name of a Celtic faerie lover called a Leannan sìth. It is with Lea, slider Monroe becomes romantically attached, as his (Ally/Succubus) dream lover, when sliding into his alternate self.

Monroe’s dream slides into Locale III, he otherwise called, ‘intrusions.’ This alternate Earth has a three dimensional reality. As stated in part, earlier, Monroe related, that his intrusion into an alternate Earth as being, “a physical-matter world almost identical to our own. There are trees, houses, cities, people, artefacts and all the appurtenances of a reasonably civilized society.”

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However, Monroe observed that, Locale III had evolved along a different technological trajectory; there was no electricity or fossil fuels; its inhabitants relied instead upon a sort of alternative power source. Perhaps, it is where the ideas of Nikola Tesla had taken root, without any impediment from gangster bankers, along with the further development of steam power, which had engendered an alternate Hippie Steampunk reality.

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As for myself, I have dream slid into differing Locale III alternate Earth’s with the assistance of the (Priestess of the Silver Star) Locale II (Lilith’s Harem) Allies. The Allies assume the forms of Succubae, whom then usher my conscious awareness through their vaginal (Vesica Pisces) stargates into alternate Earth’s.

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Some of the Locale III alternate Earth’s can be described as being Steampunk realities, although the slides into different alternate Earth’s is determined by what type of Succubus one conjures into Locale I, when to become lucid of awareness.

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GOETIA GIRL FURFUR, SHAMAN SPIRIT REINDEER OF SIBERIA

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 28, 2014 by FAUSTUS CROW

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Many a child has been hypnotised by the Christmas story of Rudolph the ‘red’ nosed Reindeer, which of a tale the Thirty-fourth Succubus of the Goetia called Furfur, refers to, who initially manifests amidst the Triangle of Art imagination as a Reindeer with a fiery ‘red’ tail. When a bright eyed child to grow up, becoming as a square headed adult, Rudolph, becomes as a mere fable, just a childhood recollection of opening up branded presents around a brand of a Christmas tree. But at a far deeper level of the collective unconscious the Christmas tree alludes to the multiverse world tree of the horned shaman.

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The multiverse world tree in old Norse was called Yggdrassill, upon which the Norse shaman deity named, Odin hung himself into trance, so that he could travel the tree of worlds from within his lucid dreams. The Saxon’s knew Odin as Woden, who the Christian’s later equated with St Nicholas, or to otherwise castigate as being Old Nick of a fiery ‘red’ horned Devil of Yin and Yang horns, who as a Reindeer horned shaman; when attaining trance ingress, Yin and Yang becomes as the Tao of a Sahasrara crown.

St Nicholas of an Old Nick or Santa Claus, whom was originally Odin/Woden indicates an ancient shamanic legacy from out of North Central Asia unto Siberia. A Siberian shaman would recognise Furfur as a shamanic power animal, which in the Goetia is a powerful Great Countess of the fifth planetary dimensional sphere of volcanic Mars, who rules over twenty-nine legions of Succubae.

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She initially manifests as a Reindeer with the breasts and arms of a woman, having Bat-like Nightgaunt wings, which allows her to carry her master throughout the myriad parallel universes of the multiverse world tree; for she initiates an out of body experience.

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Her tail, as mentioned, is often described as being on fire of arcing electric sparks, whom speaks with a seductive voice.

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She then assumes the form of a most beautiful Reindeer horned woman, who will willingly make love to her master as his spirit wife within his lucid erotic dreams, whom is highly versed in love magic, stirring shamanic visions of Siberia.

She can also raise lightning, thunder and great tempestuous electrical storms against her master’s enemies, whether they be temporal or spiritual. When commanded, she answers, both of remote-viewed secret and also of divine matters.

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She will initiate surrealistic visions until she is compelled into the Triangle of Art vision of her master; though such visions will be inspiring of shamanic artistry. Her name of Furfur, of mundane meaning, and that of an occult blind, means dandruff, indicating an experience of itching all over the body, like a prickly heat. However, the name Furfur refers to her bestowing the ability of generating an internal heat, which is termed Tummo in Yoga.

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You can thereby gauge that such practice is integral to the shamanic practices of the far North, which enables a horned shaman to survive the freezing conditions, under the pole star crowning the neural-net world tree, of his axis-mundi spinal column. The practice of which, as previously noted, initially initiates a sensation of a dandruff itch all over the body. This initial phase is to do with the shedding of the ego, which then leads to a sensation of growing ‘fur,’ as if there is a ‘fiery’ energy pouring out of every pore of the skin, before the shaman senses that his body has become as pure light.

A 1982 study of the physiological effects of Tummo had been conducted by Herbert Benson who is an associate professor of medicine at the Harvard Medical School and president of the Mind/Body Medical Institute at Beth Israel Deaconess Medical Centre in Boston. He firmly believes that studying advanced forms of meditation, “can uncover capacities that will help us to better treat stress-related illnesses.” He extensively studied Indo-Tibetan Yogis in the Himalayas and in India during the 1980s.

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Benson’s research was conducted in Upper Dharamsala in India. Benson found that the subjects under investigation, being three monks, exhibited the capacity to increase the temperature of their fingers and toes by as much as 8.3 °C.

In a 2002 experiment reported by the Harvard Gazette, which was conducted in Norseman Normandy, France, two monks from the Buddhist tradition wore sensors, which recorded changes in heat production and metabolism. Another 2013 study by Kozhevnikov and colleagues showed increases in core body temperature in both expert meditators from Eastern Tibet and Western non-meditators.

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The fiery tail of Furfur symbolically refers to the activation of the Kundalini Shakti to arise from the base (perineum) Chakra along the spinal column of the practitioner, whose shamanic trance practice of Tummo, can be utilised for healing purposes as well, which involves the shaman directing his internal (fire) heat towards an afflicted area of a patient.

This inner heat is also experienced during intense lovemaking where you will sense yourself entirely melding with your partner of Tantric union. The technique was also utilised by the (Norseman) Berserker warriors, which enabled them to attain great (martial) strength via ecstatic (howling/raging) shaman rites, when they had conjured up their Valkyrie spirit wives within their visions. Furfur will inform her master about such shamanic secrets, when to conjure her within his Siberian lucid dreams.

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However, If you be otherwise inclined of a traditionalist sexual orientation, to be enamoured with Crowley’s Biblical Goetia, you can evoke Furfur as an OTO Rudolph the red nosed Hart, who bisexual Crowley viral-meme illustrated as being a phallic fellow; I’m sure he would be most pleased indeed to arouse your indoctrinated perineum to set alight of a continued patriarchal brainwash.

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But should you be rebellious, evoke a Succubus tonight, to keep the Abrahamic exorcist at bay, whose monotheistic egregore seeks to possess your anus with a limiting belief system of mind-control; wherefore negating your shamanic legacy, through fearing a Reindeer Horned shaman as a Devil!

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SIRIUS NUN OF HYPNAGOGIC TRANCE

Posted in Alien, Chaos Magic, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 14, 2014 by FAUSTUS CROW

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A Nun is commonly seen to be a member of a religious community of women, typically one living under vows of poverty, chastity, and obedience. The term ‘Nun’ is not only applicable to Catholics (Eastern and Western traditions), Orthodox Christians, Anglicans and Lutherans, but also to Jains, Buddhists, Taoists, Hindus and some other religious traditions.

The term of Nun is very likely derived from the fourteenth letter of many Semitic abjads, including Phoenician, Aramaic, Hebrew and the Arabic alphabet nūn (in abjadi order).

Nūn is also the third letter in Thaana, pronounced as ‘noonu.’ Its sound value is (n). The Phoenician letter gave rise to the Greek nu (Ν), Etruscan N, Latin N, and Cyrillic Н.

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The letter Nun is thought to have come from a pictogram of a snake (the Hebrew word for snake, nachash begins with a Nun and snake in Aramaic is nun) or eel. Some have hypothesized a hieroglyph of a fish in water for its origin (in Arabic, nūn means large fish or whale).

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The Phoenician letter was named nūn “fish”, but the glyph has been suggested to descend from a hypothetical Proto-Canaanite naḥš ‘snake,’ based on the name in Ethiopic, ultimately from a hieroglyph representing a snake.

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The Nun snake is referring to an amphibious creature, which was originally derived from the ancient Egyptian ‘Nu’ (nuː ‘watery one’), also called Nun (nʌn or nuːn ‘inert one’), which is the deification of the primordial watery abyss in Egyptian mythology. In the Ogdoad cosmogony, the word ‘Nu’ means ‘Abyss.’

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The Ancient Egyptians envisaged the oceanic abyss of the Nun as surrounding a bubble in which the sphere of all life is encapsulated, representing the deepest mystery of their cosmogony, which basically refers to the amniotic waters of the womb.

In Ancient Egyptian creation accounts the original mound of land comes forth from the waters of the Nun.

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The Nun is the source of all that appears in a differentiated (Maya/simulation) world, encompassing all aspects of divine and earthly existence.

In the Ennead (nine dimensions) cosmogony Nun is perceived as transcendent at the point of creation alongside (mound of land) Atum the creator God, who is sometimes symbolised as a pyramid (cosmic mountain = physical body/hologram) of (bio-photon) light amidst the amniotic waters of Nun.

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Nu was usually depicted as a male, this is because he represents an adept of trance who is able to access the amniotic source of all form, which is basically the realm of the (womb) dream. Nunet (ˈnuːˌnɛt also spelt Naunet) is the womb of the feminine , which is the name of Nu with a female gender ending.

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The male aspect of Nun, is written with a male gender ending. As with the primordial concepts of the Ogdoad, Nu’s male aspect was depicted as a Frog, or a frog-headed man.

In Ancient Egyptian art, Nun also appears as a bearded man, with blue-green skin, representing water; while Naunet is represented as a snake (DNA) or snake-headed (mitochondrial DNA) woman.

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The symbolism of the amphibian refers to trance ingress into the amniotic waters (inner space) of the womb (electron) dream, which reflects back the internal issues of the dreamer. When to become conscious within the dream, the dreamer is then enabled to transmute the leaden symbolism of the dream into a golden understanding via the utilisation of symbolic alchemy, which is essentially the practice of art. Hence you have a painted cave wall, leading to canvas. The practice of art is inextricably linked with the evolution of consciousness, a Surrealist, in particular will understand, who is aware that the first shaman was an artist, dreaming surreal dreams.

The encountered symbolism of the dream is emanating from a deeper level of communication with an inner intelligence, since your electron dreams are illuminated by the bio-photon emanating from the mitochondrial (serpentine) DNA, which is passed down from the mother to her children.

Whereby you have the Naunet symbolism of the snake-headed woman. The symbolic information she imparts via your dreams is derived from the passed down genetic archives within each and every one of your watery cells. You will also find that serpentine symbolism often manifests in Ayahuasaca visions of the (eleventh dimensional/Da’at) Abyss.

The amphibious symbolism of Nu is also associated with the Nommo’s, who are mythological ancestral spirits (sometimes referred to as deities) worshipped by the Dogon tribe of Mali. The word Nommo is derived from a Dogon word meaning ‘to make one drink.’ The Nommo’s are usually described as fish-like, phallic headed, amphibious creatures.

Folk art depictions of the Nommo’s show creatures with humanoid upper torsos, legs/feet, and a fish-like lower torso and tail. The Nommo’s are also referred to as ‘Masters of the Water, the Monitors, and the Teachers.’

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The Nommo’s refer to ancestral shamanic adepts who are able to attain conscious trance ingress into the watery realms of the amniotic dream, which is associated with a (mitochondrial DNA) planet of women, called Emme ya, from where all souls come from.

Trance ingress into the electron (womb) dream (bio-photon) realm of Emme ya was conducted around the (Circadian rhythm) rising of Sirius. However, during the 1970’s a book by Robert ‘Temple’ entitled: The Sirius Mystery popularized the traditions of the Dogon concerning Sirius and the Nommo’s, for all the wrong bubblegum reasons, which was later shot down.

In The Sirius Mystery, Temple advanced the conclusion that the Dogon’s knowledge of astronomy and non-visible cosmic phenomenon could only be explained if this knowledge had been imparted to them by an extraterrestrial race, which had visited the Dogon at some point in the distant past.

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Temple associated an evocative science fiction species of humanoid amphibians, of similarity to Biblical Demons to the legend of the amphibious Nommo’s.

He contended that the Nommo’s were extraterrestrial inhabitants of the Sirius star system, who had travelled to Earth at some point when humanity was sill in its infancy, and that these extraterrestrial fallen Angels had imparted (sinful) knowledge about the Sirius star system, as well as our own Solar System to the Dogon tribes.

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The reason why Temple postulated such a notion is that he, like many others of an indoctrinated Abrahamic mind-set are quite unaware that conscious trance ingress into the dream can enable a shaman to (lucid dream) remote-view such information, which is sometimes facilitated by ingesting power plants. Although said power plants were banned by the ‘Roman’ Catholic church because the priests didn’t like the competition. Whereupon the church systematically persecuted the ‘horned’ shaman as their Devil.

Another author, named, Zecharia Sitchin  had postulated similar theories to those of Temple. Sitchin was on very good terms with the hierarchy of the Vatican. He proposed an explanation for human origins involving ancient (Angel) astronauts, which evolved the Biblical paradigm into the arena of UFO’s.

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Sitchin attributed the creation of the ancient Sumerian culture to the Anunnaki, which he states was a race of amphibious extraterrestrials of similarity to the Nommo who had come from a planet beyond (Cabbala: Kether) Neptune called Nibiru, the Dogon to otherwise call Emme ya.

Sitchin’s ideas heavily influenced David Icke’s theories concerning reptilian humanoids influencing human society, which invariably led to a New-Age Witch hunt for amphibian Demons.

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The symbolism of the amphibious reptilian, such as the Anunnaki actually refers to a shamanic trance adept, which as mentioned prior are symbolically represented as a serpent or a fish in ancient art.

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The fish symbolism was also utilised by the early Christian’s concerning their (crucified Oannes) Christ; however, their symbol of the fish is originally derived from the symbol of the (Vesica Piscis) Vesica Pisces.

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The Vesica Pisces is a shape, which is made up of the intersection of two circles with the same radius, intersecting in such a way that the centre of each circle lies on the perimeter of the other.

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The two circles represent, the amniotic waters of the ‘microcosmic’ dream, being one circle, and your waking reality of the ‘macrocosm,’ is represented as land, being the other circle.

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When the two circles of water (Microcosm/Implicate Order/Nagual/Inverted Pentgram) and land (Macrocosm/Explicate Order/Tonal/Upright Pentagram) are intersecting you then have the (superimposition) mid-point of (amphibious) hypnagogic trance, at the ‘almond’ shaped centre. Hence a trance adept of a shaman is symbolically represented as an amphibian, such as a Frog, Serpent, Fish or other reptilian creatures like that of a Dragon, for example.

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The name Vesica Pisces literally means the ‘bladder of a fish’ in Latin. The shape at its centre is called the mandorla, ‘almond’ in Italian, which refers to the ‘Vaginal’ orifice. The reasoning for this symbolism is because, when accessing trance at the hypnagogic point of sleep, you will sense your conscious awareness being ‘ejaculated’ out of your body into the domain of the dream, which is symbolised as the ‘womb.’

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Hypnagogic trance ingress through the Vesica Pisces portal can be equated with a (Vaginal) Stargate; this is more so the case, since the Dogon (Nommo/Phallic headed Fish) trance adepts journeyed into inner space around the rising of Sirius.

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The trance adepts did so, in order to access the planet of women, Emme ya, where the Succubae of ‘Lilith’s Harem’ can be encountered.

Sirius symbolically correlates with an inner Sun, which (bio-photon) illuminates your electron dreams. The symbol of the inner Sun, is also represented as the ‘black Sun,’ which is in turn associated with the God-Sun/God-Son, Crucified (Trance-Fish) Christ.

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Hence you have the symbolism of the Nun, who traditionally eats (crucified) Fish on (Venus-Pentagram) Friday’s.

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