Archive for spiritualism

THE GREAT BEAST OF BETHLEHEM

Posted in Art, Chaos Magic, Occultism, Sorcery, Surrealism, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 31, 2015 by FAUSTUS CROW

William Butler Yeats (3rd June 1865 – 28th January 1939) was an Irish poet and one of the foremost figures of 20th century literature. During March 1890, Yeats became a member of the Hermetic Order of the Golden Dawn. Yeats had a life-long interest in mysticism, spiritualism, occultism and astrology.

He read extensively on these arcane subjects throughout much of his life. Previous to his Golden Dawn membership he had joined the paranormal research organisation, The Ghost Club, in 1911. He was especially influenced by the writings of Emanuel Swedenborg. As early as 1892, Yeats wrote: “If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen ever have come to exist. The mystical life is the centre of all that I do and all that I think and all that I write.” 

Yeats interest in mysticism was also inspired by an in depth study of Hinduism, under the Theosophist Mohini Chatterjee. His infatuation with the occult arts formed much of the basis of his later poetry, via which of nigh automatism he may have foreseen the future, of a present unfolding? Or did he merely intuitively deduce that the mass populace will bring about a self-fulfilling prophecy due to their religious indoctrination.

Then again, Yeats extensively mixed with those of political machinations, who utilise the collective religious indoctrination for their own ends; for in order to have control over the masses you subversively create a crisis and then offer a solution. For example, you have three big business Animus cults dancing a triangle around Abraham’s eye, who create their prophesied war; this monotheistic fascist trinity, of theocratic centralist politics then ushers in a (Falcon/Eagle) peacemaker, who be their ‘Petrodollar’ OSIRIS ‘Messiah,’ HORUS ‘Lord‘ and Prophet of ‘ISIS’ lording it over their Orwellian New World Order heaven on Earth.

THE SECOND COMING

TURNING and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold; 


Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned; 


The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand; 

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Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi 

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Troubles my sight:  somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun, 


Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know 

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That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born? 

The Second Coming by William Butler Yeats

Christianity and Islam appropriated their Animus cults from the cult of Judaism, which in turn had appropriated the cultic beliefs of the ancient Egyptian’s, more specifically that of the monotheism of the pharaoh, Akhenaten. Their ILL-uminati trinity of the deified Animus have no power whatsoever, apart from what is given to them by their blind followers.

As for their big-business influence, it is purely based upon owning assets, such as oil! These big-business Animus cults will do anything to survive; hence the never ending slaughter in the Middle East!

So, if you observe symbolic associations, which are tied up with a religious indoctrination, whether it be Abrahamic or that of its prior Egyptian foundation, leading thence to Aleister Crowley’s New-Age focus upon (Animus) Horus, the blatant correspondences have been engineered that way.

The symbolic set up has been designed to subversively manage the perceptions of the religiously inclined, who have been programmed since ‘childhood’ to expect the ‘birth’ of a ‘Second Coming’ out of the Middle Eastern Rose-‘Mary’ womb of ‘Isis;’ wherefore they blindly allow for the insanity to continue.

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GOETIA GIRL STEAMPUNK SUCCUBUS ART MUSE VALEFOR

Posted in Art, Chaos Magic, CREATIVE WRITING, Goetia Girls, Horror, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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In an attempt to describe Valefora, the old magicians said she manifested as a roaring Lioness and then as a mad woman riding an ass. But Aaron C. Donohoo’s remote viewed drawing of this strange Succubus doesn’t make her look that way at all. Donohoo decided to utilise the sorcerer methodology of Faustus Crow in order to conjure Valefora into his lucid dreams.

What Donohoo experienced greatly surprised him. Valefora at first manifested, dressed as a quirky Victorian French maid, as Crow had described her.

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Valefora seemed to be like a most attentive female butler or a (Vale-t/for) valet. The Grimoires state that she makes a superb servant; although there are other, deeper levels of this Succubus, should a sorcerer conjure her as his familiar.

For example, the symbolism of the French maid refers to Valefora’s ability to access the minds (houses) of others without them realising it, in order to discover (clear out) hidden secrets.

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Valefora initially assumed the form of a most beautiful half-caste woman, being African and French, which of a manifestation seems to be associated with the motif of a Lioness in particular, though with felines in general.

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She said she was from New Orleans, who is highly versed in Voudon. But her secretive sidereal self is that of a Cat thief superheroine, dressed as a Steampunk Catwoman, who emanates from an alternate Victorian world powered by steam.

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Valefora seemed to be like a female version of a black-leather clad Robin Hood. She indicated that she thieves secret information from out of the dreams of the disgustingly rich theocratic fascists, whose patriarchal church of the deified ‘Animus’ made as a God/Devil, is built upon lies.

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The information she Cat thief steals from lying politicians, priests and other gangsters, who rule over the oppressive establishment is then revealed to the populace; for information is power.

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Much of the general populace survive amidst the squalid mind-slum of Londinium who are being used as unknowing slave labour within the plutocratic owned industrialist factories, whose country is essentially a fascist peeler state, which is the most spied upon in the whole world.

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It just so happens that Valefora’s Steampunk Britainia mirrors the present country of Orwellian police state Britain where there is 1 CCTV camera per 11 people.

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Over time, Valefora related her story via Ouija board divinations, who then manifested amidst Donohoo’s Triangle Of Art imagination as an eccentrically dressed young woman, as described by Crow. Although initially appearing as a half-caste girl, her ectoplasm features started to become more Exquisite Corpse indistinct of shifting ethnic types.

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She told Donohoo that her abode is an Arkham Asylum For Wayward Victorian Girls. All of these Wayward Victorian Girls are rebel metapsychic Witches who have been incarcerated by the patriarchal priests, whose fascist cult greatly fears their necromantic spiritualism. Hence the church has mass medicated the public water supply with sodium fluoride, in order to negate any psychic potential developing in the population, to seer beyond their symbolic Matrix of a Plato’s cave Asylum.

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Donohoo soon noticed that Valefora started to shift her Exquisite Corpse form into a Chinese looking woman, dressed in a schoolgirl sailor uniform of Victorian design.

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It was as if Valefora was comprised of differing split Exquisite Corpse personalities of a knit together Frankenhooker Mind Doll Tulpa, or that other wayward Asylum Succubae under Valefora were appearing in her stead.

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However, Valefora assumed a final form who looked remarkably like the artist Emilie Autumn, and like Emilie, Valefora plays a violin, which Crow had also described in regards to this Succubus.

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It was as if Valefora was assuming the form of Emilie Autumn in order to indicate who she really is, whose particular archetype has influenced popular culture. Whereupon, Donohoo had determined Valefora’s underlying characteristics by looking at the Emilie Autumn of this world, who is a world-class violinist, singer, composer, author, actress and an artistic genius, as well as being an anarchistic fashion icon.

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She is also medically classified as being bipolar, which just so happens, that the most common psychiatric diagnosis among those with extraordinary psychic skills is bipolar disorder. The list goes on of similarities with the Succubus Valefora, whose planetary domain is of the artistic Chakra sphere of Venus.

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The artist Emilie Autumn is very much of an eccentric paradox. She was born in (Lost Angels) Los Angeles, whose formal education had ended abruptly at the age of ten when, as a Violinist child-prodigy, she had been taken out her school to begin her life as a high level performer. Her self-published debut novel: ‘The Asylum For Wayward Victorian Girls,’ has been mentioned in text-books as well as being used as part of the psychology curriculum at Oxford University in Jack the Rippers London.

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Emilie’s historical knowledge, literary skill of poetic prose, which had been published during her early twenties, along with her astute ability as a unique singer with a dynamic and most colourful operatic range have been primarily self-taught; these being the three Triangle Of Art hallmarks of her influential Venus notoriety. A ghost of a George Orwell Chaos Magician, who is intrigued by her understanding of history, related: “Emilie seeks to understand the Past to thereby own her Present of artistic prowess; whereby becoming as a Seeress, who to seer a Future, she desires to make manifest.”

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Her works have also been utilised as the basis for the original works of New York’s Rochester Ballet Company, whose production scores were performed using Emilie’s spoken-spell-sung-words and teen-age Witch classical violin recordings.

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Emilie’s role as an activist for mental health care reform, as well as her outspoken views on gender equality, and animal rights have underlined her rebellious reputation as being a controversial young lady, who, like Valefora, unapologetically rebels against the fascist New World Order of the Animus fixated gangster elite.

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Emilie had originally intended to begin and end her Ouroboros career as a classical violin soloist and composer. But she gradually became aware that, in order to express herself completely as an artistic sorceress, she had to use her hypnotic voice as well as her nimble pentagram fingers. As soon as she opened her Siren mouth, screaming out her existence, she never kept silent.

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Emilie is now fully armed with a blitzing electric violin of an elemental weapon, a shockingly powerful mantra voice, as well as self-taught neuromancer skills as a digital programmer, creating her own simulated reality of Maya, who is able to record and produce her own multi-genre hyper-sigil albums.

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Emilie has also been made an official Witch representative for Steinberg’s Cubase, the industry leading digital recording and programming software of a viral meme, made manifest into flesh, who is becoming ever louder as a self made icon.

Then came Emilie’s literary creation, which entirely altered the course of her magical career, utterly transforming the ingrained perceptions of who she is within the coven minds of both fans and friends alike. Emilie published an illustrated autobiographical novel weighing in at nearly five pentagram pounds, entitled: ‘The Asylum For Wayward Victorian Girls’.

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It was first published in 2009 as a companion to her 2009–2010 North American, European, and Australian tour: The Asylum Tour. The fully illustrated book chronicles Autumn’s real life experiences in a mental ward after an attempted suicide, situated in this asylum world; while a doppelganger self of a young girl called Emily with a ‘y,’ is sojourning in an alternate Steampunk reality of a Victorian England, who is also admitted into an insane asylum.

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The tome’s contents was derived from Emilie’s real-life diary entries. Her story begins with Emily’s suicide attempt and prompt imprisonment within the rotting guts of an Arkham asylum. She spares no detail of personal experience. Emilie shows her reader what exactly went on within her Asylum house of horrors. Many mental institutes still utilise Victorian methods of continuance, up to the present.

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But what do you expect, California practiced eugenics, where many a considered undesirable lost Angel were forcefully incarcerated within Asylums and then sterilised, up until the late 60’s. If you don’t believe it, check out War Against the Weak: Eugenics and America’s Campaign to Create a Master Race by Edwin Black. In Emilie’s book, she reveals of personal experiences dark Asylum secrets, which the general public would prefer to sweep under their hypocritical church altar.

Emilie’s book appears to have inspired the film, entitled: Sucker Punch, which is a 2011 American fantasy action film directed by Zack Snyder and co-written by him and Steve Shibuya. It is Snyder’s first film, supposedly based upon an original script going by Snyder.

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The film stars a fifth element actress who, just so happens, is coincidentally named, ‘Emily’ Browning, and her four elemental sisters, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung and Carla Gugino. Basically, the principle character is somewhat like a Western Alice in Wonderland version of the Mongolian Utagan/Utygan (female shaman) called Nishan, whose speciality of practice is that of a (black shaman) Khara Kam, who is highly versed in the (underworld journey) Dolbor ritual.

The storyline follows Emily’s shamanic trance journeys into alternate Matrix realities. Of course, Emily is acting the part of Sweet Pea, who is committed to an infernal mental institution. She attempts to escape the Orwellian hospital before suffering a lobotomy; while the general public are unknowingly suffering the same Orwellian fate, due to being mass medicated with sodium fluoride, which is calcifying their pineal glands.

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Sucker Punch drew a lot of criticism from the political correct mind-set of the heavily fluoridated for its depiction of women. Several deadened pineal critics described the movie as being misogynistic; whereas blinded others expressed their concern over its treatment of sexual violence. But then, it was made by a male, to easily crucify. However, in all likelihood Snyder was inspired by Emilie Autumn’s real life experiences, which would shock the critics mouths shut.

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There are many similarities between Emilie Autumn’s autobiography and Sucker Punch. Emilie’s tale takes a surrealistic turn of events, when she is still in the psych ward, who discovers evidence of a parallel universe within which there is another Earth, the out of body traveler, Robert Munroe would describe as locale III, which of an alternate world, very soon becomes indiscernible from Emilie’s own reality.

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As the padded cell days drift by, the seemingly separate worlds of the story’s two lead characters, Emilie and that of her Victorian Steampunk Daemon sister begin to entirely merge. This leaves the reader, as well as the book’s genius, rather confused as to whether the accounts are truly autobiographical or whether Emilie has managed to seamlessly Skinwalk from her present world personality into her alternate world self as a World-Walking Skinwalker via an inner Da’at portal.

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What is quite curious, is that Robert Munroe also spoke of sliding into the corporeal frame of another self, who existed within an alternate reality, when to have shifted his consciousness towards the back of his infernal Qoph head, where the alternate world technology is based upon steam power.

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Donohoo to thereby theorise that there is indeed an alternate Steampunk reality just next door to our own world, and that Valefora knows how to travel between realities like a void-going Steampunk Dakini.

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Many of the readers of Emilie’s mind-bending psychological thriller who are presently living amidst an Asylum of this world consider her story to be a profoundly empowering Ouroboros tale of mental suffering, elemental sisterhood, and eventual Karmic revenge. Emilie’s story culminates in what has been called one of the most suspenseful Sucker Punch cliff-hangers of all time.

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Emilie has held hundreds of ritualistic book readings and performed séance scenes from her-self created Grimoire across Europe and the United States.

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Emilie’s viral meme self has manifested on Leno and Letterman as part of Courtney Love’s former band. She has also appeared on glossy magazine covers, such as Bizarre, throughout the world of a Goth icon, as well as attending ritual spots on albums by such artists as Love, Otep, Billy Corgan, and TV’s ‘Metalocalypse’, of a self made hyper-sigil. She also had a starring role as the Exquisite Corpse ‘painted doll’ in the musical film phenomenon of Darren Lynn Bousman’s (SAW II, III, & IV) ‘The Devil’s Carnival.’

Whereby, Dononhoo has deduced that under Emilie Autumn’s lacy corset, is the Succubus Valefora, who seeks to bust out of her feline cage. Hence, Emilie Autumn is no ordinary rock singer, she is a self created Tulku.

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Should you look closely at Donohoo’s drawings of Valefora inspired automatism, they depict what appears to look like some kind of Tesla time machine in the distance, looking like a wheeled throne, which Valefora rides as her Montauk ass of a hospital wheelchair.

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Like Emilie Autumn, Valefora’s familiar is a Rat, whose quantum tunnelling intuition knows about the infernal sewers connecting alternate worlds, which tend to flood with bipolar liquid light during the full Moon. But then the gravity of other worlds has to go somewhere of a tidal flux.

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Another name Valefora to have is the, Rat Witch. The Rat is very much an animal of Mercurial thieves; for it takes a thief to catch a thief. But the Rat is more so an animal of wounded survivors, becoming as Mercurial Shamans, since the Rat survived the catastrophic fall of the blindly repetitive dinosaurs. She has been considered to be among the most bizarre and little known Succubae over the Grimoire years, and consequently not much has been written about her until now.

Yet she was chosen by the ancient shaman Wodkhan from among the thousands, if not millions of Succubae Tulpa Mind Doll legions to be included in the ‘Anima’ list of 72 Goetia Girl archetypes, who are subdivided into four primary elemental groups of 18, which in turn, of two groupings, of 9 each, are associated with the enneagram of archetypal personalities. Thus Valefora obviously has powerful archetypal qualities to be considered by a conjuring Sorcerer Artist, who is as ferocious as a Lioness and works hard as an Ass for him.

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It is said that Valefora was an actual woman and that Wodkhan sought to save her soul, after she had committed suicide, in order to bring her back to life; whose lost soul wandered the infernal spirit world of a ‘meanwhile’ place outside of time. Whereupon Wodkhan entered into the death trance to find her. But in so doing, Wodkhan soon discovered that he had actually taken his own life, and she was the one seeking him. This tale is somewhat like the Sumerian Goddess Ishtar, who sacrificed herself into the underworld trance to save her lover Tammuz; but will Tammuz remember her? Should Tammuz not remember, Ishtar to suffer great pain, until she heals her wounded heart, of ‘shamanic’ artistry; whereupon Ishtar becomes a… Shaman.

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The multiverse world tree of Yggdrassill is a strange place indeed; in this world of a Midgard Asylum you have Emilie, in a world next door, you have Emily, and in yet another world you have ‘Emilia.’

The ‘Sucker Punch’ of this, is, all these worlds, including your world are as Maya simulations, which ever repeat of Eternal Recurrence; there is no escaping the encircled Asylum of Midgard. You may believe you are escaping the pointless madness of it all when to take your own corporeal life via the noose, taking pills or of slashing razor blade etc; but there is no escaping ‘your-own-self;’ even when to forget, because you end up repeating everything, over and over again of a leaden Jormungand cycle.

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The only way out is, to remember, not to repeat, to do things another way; whereupon a survivor often turns to Art, of symbolic alchemy, in order to survive the Asylum of a world. The practice of Art is indivisible from Sorcery; wherefore you win your Ouroboros Torc of gold engraved with Runes, out of Hela’s domain.

One old Grimoire related that Valefora is associated with the 6th Rune of Cen along with two other Succubae; for each of the 24 Runes house 3 Succubae (Valkyries) per Rune. Cen means: torch, as in, an inner fire, which alludes to the (bio-photon) light quality of the electron dream.

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The Cen Rune is usually associated with artistic creativity in Rune readings, which is very much the case concerning Emilie Autumn’s artistry, who has inspired Zack Snyder’s Sucker Punch, Gerald McMorrow’s film, Franklyn and numerous others as a Steampunk Art Muse. Valefora has been called other names, including Valafara, Valefara, and Malaphara. As an Emilie Autumn, Valefora is a Duchess who governs over 10 legions of wayward Victorian girls out of a Goetia Girl Asylum.

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Johann Weird, who seemed to view this Succubus as a sacred trickster, wrote that Valefora comes forth: “in the shape of a fearsome Lioness and the head of a ghost woman, she comes from a rough place of unfeeling, hellish iron monstrosities belching fire, smoke and steam of industrie. She becomes verie intimate with a sensitive sorcerer, to whom she maketh herself wantonly acquainted, till she hath brought him to the Da’at suicide gallowes of nightmare ridden insanity. If the sorcerer shouldst fear her, he will most surely hang. But if he does not to fear her, she takes him backwards of Odin’s self-sacrificial noose of trance, over the Ygg abyss, within her lightning, throne of a chariot to her world, knowing wonders and terrors, ever repeating of Ouroboros. She also produces dream apports of artistic treasures out of the aire, stolen from faraway places, and other times should her master desirest it so. But she only thieves from those who are blind abusers of their riches in this world, who are unaware that they are living within a dream, she to see, singular of eye.”

Seagreave describes Valefora: “she is highly skilled in the arts, who enables her master to access the surreal dreams of others.”  Valefora will always counsel accessing the dreams of others even when it involves remote viewing companions and friends of (extraction) information gathering. But such is to be primarily used for healing purposes, just as a Shaman uses lucid dreaming to retrieve lost souls. She cannot be broken of that shamanic habit, no matter how she is bound. Her advice will tend to be persuasive; for she will reveal that the true nature of genius, is the ability to access the collective mind, to thereby (Inception) influence via conjured archetypes stirring subconscious dreams, to heal. But such viral meme power of artistry, can of course be abused. Valefora is very much aware of this power, because she is an artist and a musician who has a seductive, singing voice; though, having a very eccentric manner;” the Seagreave report to state.

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Whereupon, Donohoo sees Valefora as being a sacred trickster, who knows how to mould your dreams, as a shaman would do, by shocking your cultural sensibilities of indoctrinated perceptual limits, to seer beyond, into other potential realities. Wherefore a Valefora Emilie Autumn, is a Babalon… Steampunk Shaman.

The Psychic Übermensch Aaron C. Donohoo by Erin C. Donohoo (2012)

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NECRONOMICON OUIJA BOARD OF THE ARCHETYPAL GREAT OLD ONES

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW
The Ouija Board designs are removable, individually die-cut vinyl stickers, which are ideal for smooth flat surfaces, such as cut to size MDF boards topped by a sheet of perspex or glass, should you be using a planchette, etc. The design depicted above is for the 56th Fallen ‘Anima’ Archetype of the Goetia called Gremory, which is 356 x 299 mm in size. The designs are available from my Redbubble shop, should you be interested, Please Click Here, or Click “The Art” for further details.

The largest design size available for the vinyl stickers is: 356 x 299 mm. Smaller sizes are also available. Please Note, there is also 1/8th” (3.2mm) white border around each design.

The design depicted above is for the 32nd Fallen ‘Anima’ Archetype of the Goetia called Asmoday, or Asmodaya, which is 356 x 299 mm. 

Once you have carefully affixed the chosen design to a prepared board of your choice, by making sure no troublesome air bubbles arise, a pendulum can then be used, which will swing to each letter when a question is asked of a conjured Fallen ‘Anima’ Archetype of an Art Muse amidst your Triangle Of Art Imagination.

The operative methodology here is Art, which employs the shamanistic technique of Surrealist Automatism. Basically it is a method of creating Art. This involves the conjuring Artist being able to suppress his/her conscious control over the creative process, allowing an Archetype of an Art Muse who is being conjured out of the unconscious mind to have greater influence over the sway of the pendulum around the Ouija board design.

The design depicted above is for the 55th Fallen ‘Anima’ Archetype of the Goetia called Orobas or Orobassy, manifesting as a Pony-Girl, which is 356 x 299 mm. 

Of course you will need a pendulum, which can be easily created by using a piece of string with a simple weight at its end, which can be made more ornate by using exotic materials, which have an Archetypal meaning to you.

When conducting the Surrealist Automatism, you should seek to still your mind, after asking your Surrealist question. This can be achieved by repetitively intoning the mantric name of the conjured Archetype of an Art Muse, to otherwise meditate upon her central Archetypal image amidst the mandala design, while the pendulum swings around the board.

The design depicted above is for the 4th Fallen ‘Anima’ Archetype of the Goetia called Samigina, which is 299 x 356 mm. 

As the pendulum slowly halts its swing, when pointing out a letter, number, etc, in answer to your question, it is then noted down. Do not worry if the answer does not make any sense at first; for like a surreal dream, it is symbolic, which is then translated into Art. It is when you create your Art, the answers will then make more associative sense.

The intensity of this divinatory practice of Art is a creative form of meditation in its own right, which will enable the focused upon imagery in league with your questioning to stir your dreams, which can in turn enable lucidity. So, take note of your microcosmic dreams and any correlating macrocosmic synchronicities you observe.

The design depicted above depicts the Triangle Of Art, amidst which the Fallen ‘Anima’ and her myriad archetypal legions of the Succubus Great Old Ones are conjured. The design is 356 x 299 mm.

Early 20th century Dadaists, such as Hans Arp, made use of this ritual magic method for the visual Arts by utilising chance operations, which the psychologist Carl Jung would otherwise term as synchronicity.

The technique of the Surrealistic séance involves visualising an Archetype, while inducing (Theta brainwave) hypnagogic trance trance, then the unconscious is given free rein over the painting process, whose chaotic pattern would then have an associative meaning.

The Surrealist Artists, most notably André Masson, utilised the Automatic writing method of André Breton and Philippe Soupault, both of whom used the technique to compose Les Champs Magnétiques (The Magnetic Fields) in 1919. The Automatic Message (1933) was one of Breton’s significant theoretical works about Automatism.

The shamanic methodology of the Ouija board can be seen as Automatic writing or psychography, which is considered to be a psychic ability, allowing a H.P. Lovecraft to produce written words without consciously writing.

The divinatory words otherwise arise from the Necronomicon powerhouse of the subconscious where the Fallen ‘Anima’ resides along with her myriad Archetypal legions of Art Muses, who be the Succubus Great Old Ones, whom rebel against the deified ‘Animus,’ made as a God/Devil.

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ABORIGINAL GHOST GIRL SUCCUBUS SKIPPY CARTMAN

Posted in Art, Chaos Magic, Goetia Girls, Horror, Lucid Dreaming, Occultism, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

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Can you create your own Ghost, with your mind alone, and what is more, could it lead to the manifestation of Poltergeist phenomena?

This question was explored by a Toronto based group of Parapsychologists back in 1973 whom claimed to have successfully created a Ghost called Philip, whose Poltergeist antics was captured on film.

Although the Toronto Parapsychologists were hoping that Philip would materially manifest, but a manifestation did not occur apart from some quite amazing Poltergeist phenomena taking place, which was observed by a studio audience.

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A self created Ghost is nothing new, such a mind creation, which is experienced within lucid dreams is known as a Tulpa in Tibet, which of an ancient sorcery technique was practiced in order to come to an understanding that the entirety of existence is a Tulpa, a Hindu would call Maya.

Sometime after the Philip experiment, during May 2001 an Australian group of seven individuals got together whom decided to engage in the arcane art of Tulpa creation in order to replicate the successful 1973 Philip experiment.

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The participants committed themselves to meeting on a fortnightly basis to flesh out the back-story of their Ghost, who was a school girl femme fatale; the group named her, Skippy Cartman, whom is somewhat of a Lolita:

“A sweet and attractive 14 year old, Skippy Cartman lived out all of her short life on her parent’s property near Dubbo, New South Wales. Her overbearing and overprotective parents kept her on a short leash and she was very inexperienced with the joys and dangers of life when she got her first ‘Schoolgirl’ crush – on her Catholic School teacher Brother Monk. Flattered by the attention, Brother Monk embarked on a foolhardy affair with the young girl, with nature running its course and Skippy finding herself pregnant.

Full of school girl naivety, Brother Monk reacted differently to the news than an idealistic Skippy had expected. Not for her white dresses and smiling children. After all, he had his career to safeguard, not to mention the reputation of the Church! He swiftly murdered his young student, strangling her and burying her corpse under the floorboards of an abandoned shearing shed on her family’s property.

Her body was hidden quickly and quietly, not discovered for nearly a year afterwards – despite her family’s continued searching. By that time her body was found it was so badly decomposed that no one ever discovered that she had been pregnant. And Brother Monk had moved to another town, and another parish, his dark secret going with him.

With this darkly disturbing background it’s no wonder her Ghost is still lingering! We’re rather pleased to say she’s deigned to join in on our regular sessions and communicate through soft raps and scratchings – on one occasion our hands weren’t even touching the table! In a perfect world we’ll soon be wheeling out our audio visual equipment to capture this on film and tape, and perhaps invite some observers to witness this curious experiment in action.”

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The School girl motif has become an Iconic symbol, more so that of the ‘Catholic Schoolgirl,’ whom is often associated with the (Succubus) Lolita of an archetypal status.

As for the scenario involving her character, it is the habitual stuff of many a lurid story; whereby again archetypal, which is emotionally charged with dark sexuality considering you also have the loaded word of, ‘Brother;’ wherefore conjuring up an Incestuous situation; while ‘Monk’ of a religious association is somewhat evocative of the Spanish Inquisition.

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As an side of sorts, you also have ‘Skippy the Bush Kangaroo,’ which is a popular Australian television series that many an innocent child to have habitually watched of a mass mind media focus.

Skippy was created by John McCallum; produced from 1966–1968, which told of the adventures of a young boy and his intelligent pet Kangaroo.

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Skippy was based in the (fictional) Waratah National Park in Duffys Forest, near Sydney, New South Wales.

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You can therefore determine that the young boy has been otherwise transformed into a femme fatale Ghost girl, whose archetypal foundation has been fused with a viral-meme TV series of a mass mind focus, which stirs your subconscious childhood memories; while the Lolita school girl motif subliminally evokes another emotional response far more potent.

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You also have the archetype of a Kangeroo, which in its self as a ‘brand’ sums up the entirety of Australia like that of a shamanic power animal of similarity to those Spirits you to find listed in the medieval Grimoires who are also associated with animal totems.

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Skippy Cartman was created to be the Ghost of a Caucasian girl by the Sydney group.

However, it would have been better still if they had seen her to be an Aboriginal Ghost girl, which would have then generated associative correspondences with the shamanic paradigm of the Aboriginal Dreamtime.

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Wherefore it would have greatly empowered her psychic manifestations of Poltergeist phenomena.

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Let’s say Skippy Cartman is of similarity to Samantha Harris of looks and of similar background, who is an Australian fashion model born to a Aboriginal mother and German-English father.

You will then have a symbolic cross-reference between the Aboriginal Dreamtime and European Paganism in order to create a most intriguing Succubus to focus upon of a Ghost girl Tulpa construct.

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This is taken further concerning Cartman’s unfortunate association with Brother Monk whom would symbolically represent how the Aboriginal peoples of Australia have been treated by the church.

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A damning criticism of the church made by many Aborigines, who have personally experienced its imperialistic endeavours to convert them to an alien Middle-Eastern faith, is that it deliberately attempts to destroy the culture, families and initiative of the Aboriginal people.

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The church took the primary lead in separating children from their parents, in order to educate them in so called civilized ways, which led to state governments following suit of eugenic social engineering.

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The church established its paternalistic structures among Aboriginal communities, which disempowered the Aborigines by splitting up clans among its various missions so that communications and maintenance of Aboriginal culture became impossible.

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This process had been prior utilised in Europe when the Roman empire became Christian under Constantine’s rule, which invariably led to the systematic eradication of pre-Christian cultures across Europe and in turn the America’s, as well as other cultures across the globe, whose ancestral-self-identities have been entirely decimated.

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If the group had conjured up Skippy Cartman as a tortured Aboriginal Ghost girl, she would have opened up a revelatory can of worms.

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Cartman as an Aboriginal girl would have revealed that the New World Order has been around for a very long time since the empire of Rome appropriated the Abrahamic cult of Judaeo-Christianity as its centralist religion, which has led to the systematic brainwashing of many minds across the globe to focus upon the Middle-East.

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You now have an Illuminati triad of Abrahamic cults, which share the same religious fixation upon a jealous Tulpa deity of fascist politics, whose Big-‘Brother’ egregore eye amidst a triangle, over-watches you all atop of his New World Order Ur ziggurat.

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Ask an Aborigine Ghost girl to tell you the truth of it, whose own culture is the oldest upon the face of the planet.

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She will relate that her people are being forced to assume the ancestral-self-identity of a Middle-Eastern peoples, which is an obvious case of being brainwashed by those who have been equally brainwashed, who had murdered many of her ancestors, in the name of their Lord.

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Should you ever figure it out, you will soon hear her séance rapping the ghost table to turn; for what goes around, comes around of haunting Karma!

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WEDNESDAY ADDAMS GOETIA GIRL FURCAS

Posted in Addams Family, Art, Chaos Magic, Discordianism, Goetia Girls, Goth Girls, Horror, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2014 by FAUSTUS CROW

Wednesday Addams

Furcas, who is otherwise known as Furcasa, Forrasa or Forcasa is the fiftieth Succubus emanation of the Fallen ‘Anima,’ who is listed in a grimoire, entitled the, Goetia, which inspired H.P. Lovecraft’s creation of his Necronomicon. She is a Knight and high President controlling 20 legions of Art Muse (Succubi) Succubae like herself.

She appears within hypnagogic trance visions and lucid dreams as an Emo, “Muse of woe; she is wan and delicate…sensitive and on the quiet side, she loves the picnics and outings to the underground caverns…a solemn Muse, prim in dress and, on the whole, pretty lost…secretive and imaginative, poetic, seems underprivileged and given to occasional tantrums…has six toes on one foot…” as described by Charles Addams who evoked Furcasa amidst his Triangle Of Art Imagination as his inspiring Art Muse, to otherwise name her as Wednesday Friday Addams.

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She is sometimes seen to be riding a rocking horse as well as carrying a sharp knife. She teaches the virtues of herbs and precious stones, logic, aesthetics, chiromancy, pyromancy, and rhetoric.

She can make the conjuring Artist invisible to his/her critics as well as becoming ingenious, and articulate. She can also find lost things and discover treasures. But, beware, she has a wicked sense of Discordian humour.

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Wednesday is derived from the German Wodensdaeg, which means Woden’s day. Woden is the Germanic name of a Shaman God of death and magic, who is otherwise known as Odin by the ancient Norse. Woden is of similarity to the ancient Greek God called Hermes, the Roman’s called Mercury.

In Spain, Wednesday Addams is called Merlina, being the feminine name of the (Shaman) Magician Merlin.

Woden’s feminine counterpart was called Frigg or Freyja, from whose name Friday is derived. Freyja in particular is the Goddess of ‘sexual love’ and ‘Witchcraft,’ who is of similarity to the ancient Greek Aphrodite, the Roman’s called Venus. As for the name Frigg, it gave rise to the slang term for female masturbation.

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In other words, the name of Wednesday Friday Addams refers to Death (Saturn), Magic/Witchcraft and Sexual Love. Charles Addams, was a well read fellow, as well as being an astute symbolist, and of course a surrealist. He was no doubt aware of the symbolism he utilised; whereas most others did not, since they never looked any deeper into the matter.

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Wherefore, you can deduce that Addams had a dark sense of humour, which is somewhat obvious. Basically Addams was making a social comment throughout his work, at a time when World War 2 raged, in which he served, followed by the Korean conflict and the Vietnam war of most bloody slaughter.

It was during the Vietnam war, that the Addams Family was televised; while Hippies chanted,  ‘make love, not war.’ Hence, you have Addams relating that Wednesday Addams number is ‘Six,’ which is associated with Sex and the Six-pointed star of the Sexagram.

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