Archive for spirit

THE DEVIL GIRL OF DOCTOR FAUST

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

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The above watercolour painting is provisionally entitled: Mephistophina. The artwork is A4 in size, which was initially drawn in Derwent and Caran Da’che watercolour pencils on 300g/m Aquafine watercolour paper, then painted, involving some burnishing.

The original Artwork is presently on Sale, on Saatchi Art; if you are interested, Please Click Here. 

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The artwork depicts a female version of Mephistopheles, who is commonly considered to be a name of a male spirit in the Faustian legend, who in return for his assistance, Faust signs away his soul as depicted in Marlowe’s and Goethe’s grandiose Church plays. The origin of the conception and name of Mephistopheles has been the subject of much learned debate among numerous scholars down the ages, whose all male pantheon of a deified ‘Animus.’ has entirely negated the feminine principle of the ‘Anima,’ yet none to really question, why?

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As of per usual commonality in the numerous Playgirl Grimoires frequenting many a Hogwarts bookshop, you will find in Dr Faust’s Höllenzwang that (Mephistopheles) Mephistophiel is considered to be one of the seven great phallic princes of hell, who is seen standing under the planet Jupiter. The regent of the planet Jupiter is called Zadkiel, an enthroned machismo angel of the deified ‘Animus,’ made as an all-father-fixation God, named Jehovah.

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The artwork is loosely based upon an illustration of Mephistopheles, as found in the Grimoire, entitled the, Threefold Coercion of Hell; also called, Cabalae nigrae, or the Magia naturalis et innaturalis as well as the Black Raven, which is said to have been authored by Doktor Johannes Faust.

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The Grimoire illustration is listed as being plate 10 in the Threefold Coercion Of Hell, which depicts the first appearance of Mephistopheles, manifesting as a ‘fiery Bear.’ He then later manifests of fairer appearance as a little man with a black cape, having a bald head like a monk, who could be seen as a Bonpo Tibetan Buddhist practitioner of Tantric dream Yoga, since its ancient practice would most definitely piss off the worshippers of the deified ‘Animus,’ made as a Jehovah/God/Allah – Devil/Lucifer/Shaitan.

However, if Faust was truly a rebel, of a ‘heterosexual’ orientation, he would have no doubt noted, just like the psychologist Carl Jung, that the all male pantheon of a patriarchal ‘Animus’ fixation has castigated the feminine principle of the ‘Anima’ out of the spiritual equation.

Wherefore, as a rebel, he would seek out to conjure what has been cast into the abyss, whence to discover a real Necronomicon.

Hence, Faust would reverse the polarity, by conjuring up a Succubus ‘Anima’ fluctuation to name Mephistophina, who would then be in Faust’s mind one of the rebel Succubae of the seven planets, you could equate with the seven Chakras of Yoga practice.

To Faust himself, being a somnambulist and medium, Mephistophina has a real existence; she would be the personification of the transcendental  ‘Anima’ subject of Faust, an experience familiar in dreams, and more especially in the visions of Siberian shamans. Many of the Siberian shamans practice Nigredo trance and Albedo (fiery) lucid (cave) dreaming, via which they engage themselves with the ‘fiery’ Bear (female shaman) spirit, named Udagan, who Rubedo rebirths them back into the world, renewed.

Mephistophina would thus be a familiar spirit, akin to the Udagan of the Siberian shaman, who is of similarity to the inspiring ‘daemon’ of Socrates; and being an Entartete Kunst archetype, censored by ‘closeted’ theologians, Mephistophina would also represent a rebellion against the all male, Right-Hand-Path paradigm of a deified ‘Animus,’ made as a God.

It is suggested, then, in the light of modern research into lucid dreaming, that Mephistophina, though being a two-dimensional Grimoire image of a meditative aid, becomes as a three-dimensional interactive reality within a (sexagram/sixth-sense) ‘Coitus Pactum’ lucid dream; whereby the ‘Osculum infame,’ takes on a whole different meaning. The Osculum infame is the name of a supposed ritual greeting upon meeting with the Devil. The name means The Shameful Kiss, or The Kiss of Shame since it involved kissing the anus and genitalia of the (Mephistopheles) Devil.

A heterosexual male mage kissing the butt end of the’Animus’ archetype of a Mephistopheles, would find the Osculum infame, to be a very shameful act indeed, unless his sexual preference is otherwise of orientation. Not too sure about how heterosexual Witches feel about kissing the behind of their ‘Animus.’ Although it is said that 47% of women read superhero Grimoire comics, which feature chiselled chinned, sculpted males, wearing colourful skin tight leotards, revealing their tight Baboon butts. Apparently women, like tight Baboon butt males… a lot, ever since we were all apes. As for their Sapphic sisters they would be none too pleased, who would far prefer Mephistophina presenting up her arse.

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As for bisexual Aleister Crowley mages and their Babalon kin, they have no need to rebel against the all male paradigm of the deified ‘Animus;’ it suits them just fine.

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Mephistophina would then be Faust’s familiar, who is simply an aspect of his ‘Anima,’ manifesting in various guises, as a (Udagan) Bear, as an Elfin girl, as a Nun, as an invisible poltergeist presence ringing a bell, thrice; but always recognizable as the same familiar, who is his ‘Anima’ fluctuation of a Succubus, a Tibetan Buddhist would otherwise term as being a Dakini, who is a fluctuation of Shakti.

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Mephistophina is depicted partly dressed as a noblewoman, all in ‘Rubedo’ red, with an astral flight feather in her hat. The tattoo on her left shoulder is a Native American ‘heart-line’ Bear claw, referring to the power of hypnagogic (Nigredo) trance, which in shamanistic practice is experienced as residing in the (heart) chest area, where most of the nerve fibres of the Central-Nervous-System are to be found. The skull and crossbones on Mephistophina’s stockings, also refers to hypnagogic (Nigredo) trance.

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The crossbones is associated with the seventh Rune of Gebo, looking like an ‘X,’ whose symbolism refers to self-sacrifice into hypnagogic (Nigredo) trance as well as the introversion of the sexual impulse. The Gebo Rune has its equivalent Hebrew letter, being Gimel of the Cabbalistic 13th path interpenetrating Da’at, and Tarot card of the High Priestess Of The Silver (Sirius) Star, a Siberian shaman would equate with Udagan. In other words, the sexual impulse is introverted by prior meditating upon (High Priestess) Udagan, in order to overcome the terror of hypnagogic (Nigredo) trance ingress into conscious Coitus Pactum dreaming.

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The Gebo Rune equates with the English, G, which is utilised in Freemasonry. The ‘X’ also equates with the Latin numeral for (Occult blind) 10. The experience of hypnagogic (Nigredo) trance is otherwise termed as the ‘little death,’ whereupon you have the motif of the skull. As for the sigils, they have been adapted of symbolic alchemy for Mephistophina. Though hinted at, Mephistophina also has a little cape of remote viewing red silk swept behind her and a long pointed Chöd sword on her right side; for she be Left-Path-Handed.

Scene IV: The Art Studio (Faustus & Mephistophina)

Mephistophina: Ah, now, you please me greatly, indeed.

I hope we’ll get along together:

To drive away the gloomy weather, from around thy heart,

As you to seer, I’m dressed like young nobility,

In a scarlet gold-trimmed coat,

In a little silk-lined cloak,

A cockerel feather in my hat,

With a long, pointed sword,

And I advise you, at that,

To do as I do, in a word:

So that, footloose, fancy free,

You can experience Life, with me.

Slightly adapted from Johann Wolfgang von Goethe’s, Faust 

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NOTE: Some would classify my work as being Occult Pornography of adolescent fantasies, merely because I have reversed the symbolism of an all male symbolic paradigm of the deified ‘Animus,’ towards that of the female, of ‘Anima.’ But if so, they would be entirely missing the symbolic point.

The all male gender focus upon the deified ‘Animus’ has an underlying sexuality behind it’s symbolic influence upon all levels of culture; hence, it can also be construed as being Pornographic. When you have a biological gender focus, it will invariably involve sexuality; it is nature, which cannot be denied! However, the underlying sexual orientation is generally not seen, due to the sexual impulse being castigated out of the symbolic equation along with the ‘Anima.’

Most of the religiously hewn patriarchal grimoires are primarily populated by male archetypes of the ‘Animus,’ which frequent the heterosexual female psyche; whereupon said patriarchal grimoires are the PlayGirl stroke Bibles of conjuring Witch Nuns dancing orgiastic around their God and Devil, Angels and Demons, whose mantric spells often utilise the terminology of King, Lord, Master or Prince, etc. Some of the conjuring Witches are no doubt bisexual.

As for those Mages who conjure up the archetypes of the ‘Animus’ out of the patriarchal PlayGirl grimoires they may be sexually predisposed to do so of preference, such as Aleister Crowley for example, who was bisexual of leanings, writing erotic poems about Satan, etc. At least Crowley was honest about his androgynous bisexuality, many of the closeted bigots at the time considered to be… Wicked!

If, however, you be a heterosexual Mage, bisexual or a lesbian Witch, who decides to conjure up the ‘Fallen Anima’ and her archetypal (Succubi) Succubae Legions, you will soon find yourself being castigated as being a vile Pornographer peddling adolescent fantasies by the Politically Correct Thought Police; this is more so the case if you are a heterosexual Mage, to be duly seen as being… Wicked!

A heterosexual male who conjures up male archetypes amidst his Triangle Of Art Imagination is doing so in order understand aspects of his own masculinity. In other words, the conjured male archetypes are not external entities, they are otherwise ‘role-models,’ and in turn alternate guises of himself, which can be assumed within lucid dreams, of similarity to an actor acting as a character on stage.

Each of the alternate-guises are empowered by a feminine counterpart, you can term as a Succubus, who as an external entity, is an aspect of the Fallen ‘Anima.’ Whereupon heterosexual Faustus Crow rebelliously conjures up Mephistophina out of his PlayBoy grimoire.

Whereas the classical Faustian myth points at another sexual orientation, Christopher Marlowe to have had a preference for, which he communicated via his Judaeo-Christian Faust kissing the backside of Mephistopheles. Savvy!  

 

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THE CONJURING 2 OF VALAK AS A NUN

Posted in Art, Chaos Magic, Comics, Demon, Demonology, Goetia Girls, Goth Girls, Lucid Dreaming, Poltergeist, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on July 3, 2016 by FAUSTUS CROW

Valak was originally conjured out of the gnarled grimoire of the Goetia as a little naked school boy having the wings of an angel who rode a two headed dragon. Said spirit, like most of others described in the grimoires are depicted as being male entities of an overriding ‘Animus’ fixation. The how and wherefore of Valak’s symbolic transformation into a pasty faced Nun in the film, The Conjuring 2 is of the age old Hollywood tradition of rewriting history. But then, at the end of the day, it is just a case of artistic licence, just as the original was an artistic creation, which of viral-meme ‘artistry’ conjures up associative archetypes within the collective unconscious. As Johann Wolfgang von Goethe once said:

“The Artist alone sees spirits. But after he has told of their appearing to him, everybody sees them.”

Perhaps the creators of The Conjuring 2 decided to avoid utilising the motif of a little naked school boy because he would end up looking like a deranged version of the animated Voodoo doll icon, Chucky, so, instead they transformed Valak into a transgender entity looking like a Marilyn Manson asylum Nun out of an ‘American Horror Story.’

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Or maybe, the creators of the film had decided to reverse the ‘Animus’ fixation towards that of the ‘Anima’ by having Valak as a Nun. Whatever the case, symbolic logic would have dictated that the original little school boy would have been transformed into a school girl, not that of a Nun. But Hell, most of audience wouldn’t know about Valak’s historical grimoire manifestation anyway, so what’s the big deal?

Well, Valak is not one of the most iconic entities of the grimoires; wherefore it is symbolically curious that the creators chose this particular entity; why not some other?

Perhaps the film is about the spiritual torment of a girl initially involved the associative conjuring up of demonic little boy, yet, at some Hollywood boardroom juncture, before its ‘Conjuring’ into celluloid, Valak was otherwise re-scripted to be ‘Conjured’ as a Nun.

As mentioned; the symbolic reversal of a school boy ‘Animus’ into an ‘Anima’ expression would be that of a school girl; so, why that of a Nun instead?

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May be it is reference to the Tarot card of the High Priestess ‘II,’ whose card can be associated with another spirit to conjure out of the Goetia, going by the name of Gremory, who would manifest as a Nun.

Gremory is of of the very few spirits listed in the Goetia who is described as appearing a female; though as per usual, the feminine manifestation is seen to be but a ruse. (NOTE: If you are interested in the above Gremory shirt design, Please Click the Image Link.)

Wherefore, though manifesting as a woman, the spirit is considered to be male, which of a classical ‘Animus’ depiction would manifest as a transgender Marilyn Manson Nun, as featured in The Conjuring 2 film.

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If however you totally rebel against the ‘Animus’ fixated Playgirl grimoires, whose listed entities are all male, then Valak would manifest as a schoolgirl.

Whereas Gremory appears as a Nun. Both of whom would be very feminine of an ‘Anima’ expression. In ancient times, male Shamans would enter into lucid dream congress with their spirit wives, who are manifold aspects of the ‘Anima.’ This did not involve being possessed; for a male enters unto a spirit wife as he would do a woman.

(NOTE: The Gremory Artwork below is available as an Art print. If you are interested, Please Click the Image Link.)

However, should the shaman not be in control, or to be homosexual of persuasion, the conjured archetype of the ‘Anima,’ would then become more masculine of expression. It was usually the woman, who allows herself to become possessed by her deified ‘Animus.’

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The symbolic motif of the Nun has associations with the ancient vocation of the Priestess and in turn that of the Witch, which of a Tarot card is associated with psychic phenomena, trance and dreaming.

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Should you look into the symbolism being employed by The Conjuring 2 film you will find intriguing symbolic references, which allude to the Tarot sphere of the High Priestess.

You also have the actual character of the young girl named Janet, from the Enfield Poltergeist case who speaks of an ethereal presence affecting the back of her neck, which of an experience refers to hypnagogic trance.

Should you decide to seek out any historical parallels to the Janet case, you might just find that the Loudun possessions have many similarities. The Loudun possessions was a notorious Witchcraft trial in Loudun, France, during 1634. A convent of Ursuline Nuns are said to have been visited and possessed by demons. However, a number of the Nuns had inadvertently experienced trance. The Loudun possessions is of similarity to what the ancient Priestesses used to do, who allowed themselves to become erotically possessed by their deified ‘Animus,’ made as a God.

What Janet to tell of, concerning an otherworldly sensation stroking its way up the back of her neck is also spoken of by the Kalahari Bushmen of South Africa, who call it the Num, which initiates trance, they term as Kia. The Num is the same as the Kundalini Shakti of the Yoga practitioner, which is also known as the ‘rush,’ in trance dance culture. It is this energy, which stirs ‘The Conjuring’ of the archetypes out their Jinni bottle of the subconscious mind.

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It just so happens that the back of the neck is associated with the hidden sephira of Da’at in the Hebrew mystical tradition of the Cabbala, which is numbered ‘eleven.’ Da’at is interpenetrated by a path, whose associated Hebrew letter is Gimel, which in occult practice corresponds with a ‘Camel,’ as well as being ascribed the Tarot card of the High Priestess II, (otherwise known as the ‘High Priestess of the Silver Star’ – Sirius); wherefore you have the symbolism of a Nun.

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Gremory is depicted as riding a Camel, who is the fifty-sixth spirit of the Goetia, whereas Valak is the sixty-second spirit out of seventy-two listed spirits. The numbers ‘Eleven,’ and ‘Seventy-Two’ are mentioned in the Conjuring 2 film. The girl is aged Eleven who is being haunted by a ghost of a Seventy-Two year old man.

(NOTE: The Gremory Artwork below is available as an Art print and a shirt design from my Redbubble Shop. If you are interested, Please Click the Image Links.)

This would then translate as the girl being affected via the Eleventh hidden sephira of Da’at, which physiologically corresponds with the throat/neck area of the reptilian-brain-stem.

Whereas the old man’s age of seventy-two, is a number, which is traditionally associated with the Seventy-Two names of a deified ‘Animus,’ made as a God, who is commonly depicted as an old man.

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THE MATRIX AND THE UFO

Posted in Alien, Chaos Magic, Ghost, Lucid Dreaming, Occultism, Poltergeist, Shamanism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 2, 2015 by FAUSTUS CROW

Goetia Girls: UFO Vril Girl by GHOSTCROW1

Many ancient traditions speak of an inner light, which is usually experienced within dreams. The shamans know it as the fire in the head, which is known by other names, such as Mana, Chi, Odic force, Orgone energy, etc, or even by the term, Vril.

The inner light could be the Bio-Photon, which emanates from within the Mitochondrial DNA like that of a (black Sun) laser. The Mitochondria within each of your cells ‘determines the energy output the cell.’ The mitochondria also has microtubules, which act like mini-onboard quantum computers, making calculations upon the spin of an ‘electron.’

The Mitochondrial DNA is passed down from the ‘Mother’ to her children; wherefore, at an intuitive level, many a shaman had determined that the (bio-photon) inner light, which animates the characters (spirits) and scenarios (spirit worlds) within his/her informational dreams and visions has a (Mitochondrial DNA) female source.

There is the distinct possibility that the Mitochondrial DNA, is communicating with other Mitochondrial DNA, which occupies the cells of other life-forms via an interconnected web of light, being the Bio-Photon.

If such is indeed the case, then a shaman who can consciously dream will be able to access his/her Bio-Photon illuminated dreams of a vast web of information concerning other life-forms, and that of creation, to ‘browse’ of an inner internet.

Wherefore, a shaman will have to learn the right (key-words) songs in order to conjure up what he/she desires to access, such as a Spirit (symbol) of an anthropomorphic (Succubus) Jaguar, who represents all Jaguars within his/her Bio-Photon dreams of spun electrons.

If your Mitochondrial DNA is communicating with other Mitochondrial DNA occupying the cells of other numerous life-forms; then your Bio-Photon illuminated dreams would be very much like the ‘Internet,’ which can be ‘Browsed’ when you become lucid within the dream.

It just so happens the physicist James Gates has discovered computer code in superstring theory, which is the same code used in ‘Browsers.’

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His discovery might be indicative of how your consciousness at another level ‘browses’ the vast informational web, which of an ‘informational associative’ process can be consciously observed within your electron dreams.

If there is indeed a vast informational web interconnecting all creation then you have a Psychic Connection.

When this Psychic Connection is investigated by science, it will no doubt lead to the development of a technology based upon the understanding of how consciousness works.

Space and time are indivisible to consciousness; whereby, if the scientists have come to an understanding of consciousness, to also crack the space-time problem, they will also have time travel capability.

Although, if they were to discover that you are living within a computer simulation, which has been created by your far flung future descendants, of similarity to the Matrix science fiction films, your future descendants would be able to ‘browse’ any point in history, which would be a form of time travel.

Maybe the technology of your future descendants will be based upon the research of the theoretical Physicist, Dr Jack Sarfatti who is investigating the Q-Chip, which is modelled on human brain cells.

The Q-Chip, will be consciously self aware like Dr Who’s TARDIS.

When the theorised Q-Chip is implanted into the brain, it would allow a future individual to access any point in history, which would be experienced of similarity to a computer ‘simulation.’

But what if the Q-Chip already exists, being the Mitochondria, whose Mitochondrial DNA, and quantum computing microtubules is generating the virtual realities of your electron dreams.

This appears to be pointed at by the ‘missing equation’ James Gates has discovered, which may have been referred to by Lockheed Skunk Works chief Ben Rich concerning how a (TARDIS) UFO works.

But such would indicate that you are indeed living within a simulation.

Should you then engage in a mind experiment, to entertain a science fiction scenario of a future intelligence outside of the Matrix communicating its self to the simulations within the simulation.

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It might just create geometric anomalies to appear upon the planets, such as Arthur C. Clarke’s Saturn for example, the ancient Greek’s knew as Chronos, who was their Dr Who Time Lord.

The ancient Hindu mystics had previously termed the simulation as being Maya, which they saw as being female of a ‘light’ source intelligence.

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GENIE GIRL REBEL

Posted in Art, Chaos Magic, CREATIVE WRITING, Demonology, Discordianism, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , on November 2, 2015 by FAUSTUS CROW

The Ninth Succubus of the Grimoire, entitled the Goetia, is called, Paimona. She is a Great Witch Queen, and very obedient unto DIANA-LUCIFERA. She sometimes appears as a woman sitting upon a Dromedary, with a Crown most glorious upon her head.

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There goes before her also a host of Succubae, who be female Genies, with loud trumpets and well sounding cymbals, and all other sorts of musical instruments, which cause a stir of protest music.

She has a most seductive voice, and seduces at her first coming, and her hypnotic speech is such that the Sorcerer cannot well understand, unless he can compel her to explain; for what he has been told by the (Angelic) establishment is but a lie.

This Succubus can teach all Arts and Sciences, and other secret things to relate concerning the elite few who control all. She will reveal that your perception of reality is being managed for the benefit of the elite few atop of their ziggurat of skulls, and why they do so; and to reveal how they control your mind via the controlled media, and where it is all going; or any other thing you may desire to know.

She gives Dignity, and confirms the same. She binds or makes any of the elite few subject unto the Sorcerer, by revealing who they are, if he so desires it. But alas, most Sorcerers are in egocentric role playing game conflict with one another, rather than fighting against the insanity of the elite few.

She gives good Succubae Familiars, and such Muses can teach all Arts; for the practice of Art is indivisible to the artistry of Sorcery; they are one and the same of shamanic practice.

She is to be observed towards the West, due to the fact that she has migrated, because of all the insane religious wars, and slaughter over the petrodollar, which afflicts her original homeland.

She is of the Order of Dominations who has under her 200 Legions of Succubae Genies, and part of them are of the Order of Angels, and the other part of Potentates. Now if you call upon this Succubus, Paimona alone, you must make her some ejaculatory offering; and there will attend upon her two Witch Queens called LABALA and ABALI who are most salacious twin sisters, and also other Succubae who be of the Order of Potentates in their host of 25 Legions.

And those Succubae Genies which be subject unto them are not always with them unless the Sorcerer do compel them. Her Character is depicted amidst her bottle, which must be prior meditated upon, before conjuring her within your lucid dreams, etc.

NOTE: The classical grimoires, which primarily list an all male pantheon of fallen Angels, depicted them as being part of an aristocratic hierarchy, who ‘symbolically’ represented the ‘Rebellious Anti-Thesis’ of the ruling (Angelic) aristocratic elite. You could see the Daemonic hierarchy of the grimoires as being an artistic form of prior Protest against the (Angelic) establishment. This tradition has carried over into David Icke’s Reptilian Agenda, although, its surrealistic theory is seen as being a literal conspiracy by Icke and his followers, just as many believe that humanity is in thrall to Biblical Demons spewing out of their Middle Eastern Hell hole; however, they are all too human, who make out that they are more than what they are!     

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GHOST GIRLS OF EASTERN EUROPEAN SHAMANISM

Posted in Alien, Chaos Magic, Demon, Demonology, Ghost, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Succubus, Tulpa Creation, Vampire, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 31, 2015 by FAUSTUS CROW

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Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.

According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.

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The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.

A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.

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He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.

There are are also Russian folktales concerning the Rusalki, which have parallels with the Germanic Nix, Irish Banshee and the Glaistig; but most especially in regards to the Hindu/Tantric female faerie sorceresses called Dakini’s, who are also known by the Tibetan Buddhist as Khadomah.

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Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.

However, In Greater Russia, whose environment is much harsher, the Rusalki appear as lithe gymnastic Scythian Amazons of warrior predilection. But then, they are a fusion between the Valkyries of the (Rus) Vikings and the female spirits of Slavic elder lore.

While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.

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One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)

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The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.

The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.

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Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.

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The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.

“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)

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These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.

The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.

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The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.

It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).

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Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)

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But as beautiful as these underwater dream Harems of trance realm be, the amphibious Rusalki between and betwixt realities yearn to return to the land when summer approaches whereby, “the waters are warmed by the rays of the life-giving light, they have to return to the trees, the houses of the dead.” (Johnson: 155).

The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.

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The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).

During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).

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The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.

Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.

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The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.

The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).

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The Amphibious natured Navki and Rusalki ghost girls are in essence a folktale memory of ancient priestesses of a matriarchal Religion, who were adept at trance (drowning) Induction. The Rusalki were very likely female Shamans due to their close proximity with other North-Central Asian Shamanistic traditions such as those found in Siberia. The coming of Christianity could not handle the elder focus upon a ‘feminine Inorganic Intelligence;’ but most especially in regards to the predatory sexual orientation of an alternate Grimoire listing Succubae, which made the Christian priests to go around Cross-legged, fearing that their manhood would be enticed into a deep moist Slavic maw, forever hungering of an all female Goetia.

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BATGIRL HELL’S ANGEL BIKER BABE BATHIN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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UFO SUCCUBUS STARSHIP ARCHETYPAL

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Star Trek, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 23, 2014 by FAUSTUS CROW

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The 68th Succubus of the Goetia called Beliala can be symbolically associated with the fictional Andromeda Ascendant. The Andromeda Ascendant is a sentient starship, which is depicted in Gene Roddenberry’s science fiction television series, entitled: Andromeda.

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Roddenberry’s idea of a sentient starship was initially going to be used for his prior starship creation of the iconic Enterprise of Star Trek fame, which has since taken on an archetypal status.

The Andromeda Ascendant has an artificial intelligence (AI) you can symbolically associate with your subconscious mind. In the series the Andromeda appears to the crew in three formats: she can appear on the two-dimensional monitors. These monitors you can equate with drawn images of artwork, which naturally involves a meditative state when creating them, being a light state of trance. The artwork is inspired by an initial visionary state of ‘active imagination’ when to conjure Beliala amidst your Triangle Of Art Imagination, where she and her 72 Succubae sisters, whom be all as archetypes, exist.

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I am not talking about the common perception of what the word, ‘imagination,’ means. I am primarily referring to what the Sufi magicians term the imagination to be, which they see as being the power of magic.

She also appears as a three-dimensional holographic projection, which you can equate with a virtual reality ‘lucid dream’ manifestation of Beliala. She can also manifest as the avatar Rommie, (all three are played by the delectable Lexa Doig in the series) you can equate with what the Tibetan Buddhist’s call a Tulpa, which is basically a thought form, you can otherwise term as a thought projected hologram.

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An avatar is a humanoid representation of the AI in the series, which of sorcery practice would be that of Beliala assuming the form of a Tulpa Mind-Doll Succubus, within your active imagination of ritualistic meditative practices; this will then lead to her appearing in your lucid dreams, who will also have the potential of manifesting as a poltergeist (Tulpa/hologram) Ghost Girl (Dakini/Genie) whom will psychically protect her master against the malign intent of others.

I am not saying that Beliala will physically manifest into your reality as a science fiction babe, apart from perhaps setting up a synchronicity, where you bump into a woman, who just so happens is into Rommie cosplay.

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However, the Rommie manifestation of Beliala will occur within an erotic lucid dream, via which you can potentially ‘sixth dimensional‘ remote view futuristic possibilities, and whatever technology therein to discover. Although, I must admit, I have experienced physical manifestations of the (Tulpa) Succubae, which others have unknowingly observed; these manifestations occurred on very rare ocassions, at key times.

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The Andromeda is shown to have the above mentioned holographic and android avatars, which of sorcery practice can be equated with a three-fold process.

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The initial phase of conjuration involves your active imagination conjurations of Beliala, somewhat like intense daydreaming. This will then lead to a microcosmic lucid dream interaction with Beliala.

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The third phase would involve experiencing macrocosmic synchronicities, which will reflect back your internal dream interactions with Beliala.

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These associative synchronicities might involve being at the right place and time to observe a UFO. But keep in mind that, should you photograph or to film the phenomenon, others will invariably say it is fake, let alone to remark; “so what! Everybody is seeing UFO’s all over the place, these days!”.

The associative symbolism, which is utilised will determine the nature of the corresponding synchronicities you will experience. Hence the 68th Goetia Succubus Beliala represents the personality and physical representation of the symbol focused upon of a (UFO) ship’s AI, in this case in the Mind-Doll Tulpa form of a human female, who is one of the 72 Succubae around a Zodiac.

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In one episode of Andromeda, the ship’s engineer, Seamus Zelazny Harper (played by Gordon Michael Woolvett), builds an android as her second avatar.

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The android of sorcery practice is a Mind-Doll construct of a Frankenhooker, with whom a sorcerer can interact with of a holographic (Tulpa) avatar via the monitor, of his mind. He will thence see her of a knitted together vision travelling beside him, walking and acting outside of her ‘Seal’ of a ship, via which he can remote-view worlds. Of course, only the sorcerer will be able to see her, no one else; being somewhat akin to the invisible friend motif.

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Wherefore, it is highly advisable that you do not to have any conversations with Beliala when out in public; otherwise you might find yourself being dragged off to the nearest Arkham asylum for a dose of electric shock treatment. You could always claim that you are a native shaman; that might let you off the hook. But then that would probably get you into a much bigger mess, involving irate flocks of Sheep, frequenting a local Church, Mosque and Synagogue, whom will join forces for the first time in history, so that they can eradicate your free brain off the face of the planet.

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Better to say that you are an absolutely crazy surrealist artist, and that its all part of the exquisite corpse creative process to create a Frankenhooker Mind-Doll Tulpa Golem girl. They’ll probably just consider you to be a confused sad old Goat and leave you alone.

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Then again, others around you might be far too preoccupied with observing an angelic UFO, which just so happens, to have manifested, when you turned up; while you was secretly intoning an arcane Beliala mantra, in order to summon her star chariot, so that you can escape the planet of the Sheep.

Fans of the Andromeda series refer to the monitor and hologram manifestations of the female AI as ‘Core’ and ‘Logic,’ respectively. The ‘Core’ can be associated with the microcosmic manifestations of Beliala within a lucid dream; while ‘Logic’ is that of Beliala’s generation of concordant macrocosmic synchronicities.

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Gene Roddenberry was a most insightful fellow who depicted all three versions of the Andromeda AI having distinct personalities, even though they are based on the same root personality. This at times leads them having discussions with each other and even arguing amongst themselves, like that of your three brains, of a layered reptilian, mammalian and hominid brain. This is why Beliala initially manifests in the classical Grimoires as two Angels on either side of a (UFO) chariot.

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In the series, the Andromeda Ascendant is equipped with a slipstream drive for FTL (faster than light) travel in which it uses an Exotic Matter Lens (similar to the video game: Mass Effect) to focus and open up a Slipstream Portal of a Stargate.

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Internally, this Stargate can be equated with a quantum wormhole, which manifests as a (Vesica Pisces) vaginal star barrelled (black sun) torsion tunnel within a lucid electron dream; whereupon the Stargate is clearly associated with the feminine principle.

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The internal processes of consciousness, which constructs your experience of reality, once understood, could be potentially applied to a technology. You would thereby have a very different technology to the one you presently utilise within the public arena. Whereupon if a technology has been developed behind the scenes, which is based upon the processes of consciousness, it could lead to what is termed as a Secret Space Program.

Within Roddenberry’s Andromeda series, the starship Andromeda Ascendant is shown to be somewhat sexual of an underlying theme, since it is clearly implied that the controlling female AI has an emotional attachment to her Captain Dylan Hunt. This is a variation on the archetypal idea of captains being in love with their (Succubae/Valkyrie) ships, implied for centuries, which is extensively used by Roddenberry in Star Trek.

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