ALICE OF NECRONOMICON WONDERLAND

The fourth Succubus archetype of the Fallen Anima is Samigina, or Gamigin. She is a great marchioness of the fourth Rune, who is listed in the Goetia.

She emanates from the ninth (dimensional) planetary (Yesod) sphere of the Moon. She at first appears looking like a Steampunk Alice in Wonderland riding a Sleipnir rocking horse, which is tethered to the multiverse world tree of her Yggdrassill seal, interpenetrating the globe of the Earth. She is of Sami descent whose name means: high (elevated status) Queen.

She speaks with a most seductive voice, who teaches all arcane sciences and arts, whom is a surrealist art muse. It is also said, that she gives Ouija board accounts of those spirits whom reside in the surrealistic realm of the Moon, whose Wyrd domain the ancient Babylonian’s associated with their deity called Sin. She governs over 30 legions of (Succubi) Succubae.

Samigina as a Steampunk Art Muse inspires the creative ‘madness’ of the Paranoiac-Critical Method, which is a surrealist technique that was developed by Salvador Dalí during the early 1930s.

Dalí employed its shamanistic methodology when producing his paintings and other artworks of Goetia W-underland genius.

Especially those, which involved optical illusions and other multiple images, which of a similar Paranoiac-Critical Method, you can imagine Samigina Wyrd Alice asking a creeping Gnat to demonstrate Dalí’s technique.

“All right,” said the Gnat, “half way up that bush, you’ll see a ‘Rocking-Horse-Fly,’ if you look. It’s made entirely of wood, and gets about by swinging itself from branch to branch.”

Samigina acted confused; but she wasn’t really befuddled at all, she’s crafty. “Let me explain further, sweet Samigina,” the Gnat continued. “The surrealists related theories of psychology to the infernal processes of subconscious driven creativity and the production of Art, which is indivisible to the practice of Sorcery.”

“During the mid-1930s André Breton wrote about the ‘fundamental crisis of the object.’ The object began being thought of not as a fixed external object, but also as an extension of our subjective self.” Samigina looked bright eyed at the Gnat, to then beg the question, “What does it live on?” She asked with great curiosity.

“Food of course, you silly little Rune sprite,” the Gnat answered. But she’s just being tricky, Samigina Wyrd Alice is well aware that one of the types of ‘food’ objects manifested in surrealism is the ‘phantom object,’ such as dancing flames, ink spills, scribbles and cracked pavements, for example.

The Gnat explained further, “according to Mad Hatter Dalí, these objects have a minimum of ‘linear mechanical’ meaning. But when viewed by your mind it evokes ‘phantom images,’ amidst your Triangle of Art imagination, which are the result of instantaneous subconscious associative correspondences.”

“The Paranoiac-Critical arose from similar surrealistic experiments with psychology and the creation of images, such as Max Ernst’s frottage technique.”

Samigina then interjected, “Ernst’s technique involves rubbing pencil or chalk on paper over a textured surface, and interpreting the phantom images visible in the texture on the paper.” The Gnat, didn’t look too impressed, “these be all two-dimensional, ‘sap and sawdust,’”said the Gnat, “since you think yourself surreal, go on with the list.”

“Alright Gnat, don’t get your wings all twisted up into a Gordian knot!” Samigina answered, who continued with her list, “the aspect of Paranoia that Dalí was interested in, which helped inspire his shamanic method of a technique is the ability of your brain to create ‘associative correspondences’ between things of the illogical.”

“Even though they are not rationally or logically linked. Dalí described the Paranoiac-Critical Method as a: “spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena.”

Samigina then looked up at the Rocking-Horse-Fly with great interest, and made up her mind that it must have been just repainted, it looked so bright and sticky; and then she went on. “And there’s the Dragon-fly.”

“Yes; of course Samigina, what a very surreal Valkyrie you are,” the Gnat answered, to further explain. “Employing the Paranoia Critical Method when creating a work of art uses an ‘active’ process of your imagination to visualise separate images, such as a Chinese ‘dragon’ and a household ‘fly’ in your work, to thereby incorporate these apparently disassociated objects into the final product of a sharp pointed fusion.”

“An example of the resulting work is a ‘Double-Image’ or ‘Multiple-Image’ in which an ambiguous Image can be interpreted in different ways. André Breton hailed the method, saying that Dalí’s Paranoiac-Critical Method was an: “instrument of primary importance” and that it; “has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis.”

“The technique can of course be applied to occult practice, when to rebelliously visualise the grimoire spirits to be otherwise Succubae, without indoctrinated limitations. However, the methodology its self is nothing new; shamans have been utilising split-screen-vision perception to sorcerer seer into other multiverse world tree realities since the dawning of humanity.”

“But it does require you to perceive in a different way. Look on the branch above your head,” the Gnat continued, “and there you’ll find a snap-dragon-fly. Its body is made of plum-pudding, its wings of holly-leaves, and its head is a raisin burning in brandy.”

Samigina looked up at some spectral object; while the Gnat went on to explain. “Critical Paranoia is a method of establishing a creative state of self-induced psychosis, which initiates the hypnagogic state of trance.”

“Consider the process as being akin to forcing a waking dream; a conscious transformation led by paranoid scrutiny of what presents itself in the surroundings.”

“The simplest version, hardly critical, hardly paranoid, begins with a child’s daydreaming game.”

Samigina started to stare into banks of clouds, looking for the chariot riders, along with giants populating floating islands and other phantasms of tortured humidity, whose associative snap-dragon-fly reasoning needs to be fed, “and what does it live on?” She to again enquire.

“Frumenty and mince pie,” the Gnat replied; “and it makes its nest in a Christmas box. And when to open the Pandora’s box of your Imagination to set it free of its indoctrinated larvae of beliefs, you can thence utilise elementary exercises.”

“Such Avadhuta exercises involve practicing prolonged staring at ink blots and scribble drawings, which will generate an array of Heyoka optical illusions.”

“A sketchbook is handy for this enterprise, which often sell themselves in many a new-age shop, as self-help manuals, which are fluffily designed to prove that you are on your depressive way to a happier existence as a Caterpillar. But then, you’ll smash through any artistic blocks with your inspiring lucid dream visitations, won’t you, my dearest Samigina.”

She to widely smile, and said, “of course I will,” to then sweetly say, along with her hair suddenly turning blond. “And then there’s the Butterfly,” Samigina went on, after she had taken a good look at the insect with its head on fire, and had thought to herself, “I wonder if that’s the reason insects are so fond of flying into candles—because they want to turn into snap-dragon-flies!”

Then Samigina imagined Snap-dragon-flies flying around a Mad Hatter’s head of an Artist, all aflame; while he walks those crumbling cracks in the sidewalk, which look like an outline of the West coast of Mexico.

In fact those cracks in the sidewalk are indeed the West coast of Mexico. “Can’t you seer it buddy? No doubt about it, that’s for sure.” Samigina to have Muse whispered into the Mad Hatter’s left ear.

“And those Ants are all tourists in the middle; they are eating up the Yucutan of an asteroid wound, remembering the demise of the dinosaurs; to be later followed by the invasion of the dark haired pony-girls from Spain.” Samigina to say upon a clairaudient giggle.

“I’m a Samigina Wyrd Alice of hitched up skirt, manifesting within your surrealist dreams, becoming one with my hop-scotch rocking-horse galloping across Panama, leaving red menstrual smudges all along the Pacific; ensnaring all within my coquette skipping rope, for my conjuring Artist.”

“Your advancement of Mad Hatter practice will invariably find the Spielberg poltergeist intricacies of my television static a delight to behold. The onset of migraine headaches a resounding flourish to perceive such things.” The Gnat decided to cut in, “Crawling at your feet,” said the Gnat (Alice drew her feet back in some alarm), “you may observe a Bread-and-Butterfly. Its wings are thin slices of bread-and-butter, its body is a crust, and its head is a lump of sugar.”

The Gnat continued, “there are no preconceptions, no paranoia to influence what you perceive. The careful acquisition of Critical Paranoia requires continued practice until it becomes a part of your bread-and-Butterfly subconscious way of thinking. But you may ask your Mad Hatter of a conjuring Artist for further insights, you to inspire as his conjured Muse, rather than asking any more questions of myself. Samigina decided to otherwise ask the Gnat, “and what does it live on?”

“Weak tea with cream in it.” The Gnat to answer. “My egg of an ego may have been cracked by you asking your Mad Hatter Artist rather than me; but what’s another cracked egg; I will just ramble on. After you have indulged your fill of weak tea, to bloat of bladder, find a bathroom with tile floors and subdued fluorescent lighting. Masonic bathroom tiles one half inch by one half inch are far preferable. Those tiles with the speckles are the type to spy out with your split-screen vision.”

“Find an empty stall within your Beehive lodge and sit on your throne of a toilet. Sit so you are comfortable to 33 Degree Freemason crap out weapons of mass destruction over Babylon. Stare at the floor in front of you, through the bottom edge Da’at gap of the closed stall door. Ritualistically stare until columns of tiles oscillate rapidly back and forth like the changeable Gimel dunes of the desert sea; chaotically at first, but more rhythmically in passing.”

“Move your Illuminati eye towards your feet to perceive rows of tiles, liquidly moving of crashing waves against the columns of a now warped Masonic chessboard. Observe the speckled patterns for amphibious Nommo insights, so as to determine the Anunnaki flux of evoked subconscious images. These images, all as Queen Bee Succubae, will erupt forth Through the Looking Glass Triangle of Art, at whose trance centre the Sirius star third-eye imagination will seer their bio-photon G-string Bunny-girl manifestations.”

A new difficulty came into Samigina’s head. “Supposing it couldn’t find any weak tea?” The Gnat to have answered; “remember what Mad Hatter Dalí said, my dear Samigina; I quote: “Paranoia makes use of the external world to impose the obsessive notion with the disturbing particularity of making valid the reality of this notion for others. . . The reality of the external world serves as an illustration and a proof, and is put in the service of the reality of our mind.”

Samigina stared, looking at the Gnat, quite entranced, as it was slowly evolving into a bug eyed alien Grey out of a neo-Gnostic newage UFO pantheon; while doing so, the Gnat continued; “Breton also said: “It is a question of speculating ardently on that property of uninterrupted transformation of any object on which the Paranoiac activity seizes; in other words, the ultra-confusional activity which takes its source in the obsessive idea… This uninterrupted transformation permits the Paranoiac to regard the very images of the external world as unstable and transitory, if not as suspect, and it is, disturbingly, in his power to impose the reality of his impression on others. . .”

“What I am trying to tell you my sweet Samigina is that, if you do not exercise your innate childlike ability of Critical Paranoia perception, which you to naturally know, that shamans have utilised for aeons…” the Gnat, suddenly Howled. “Then it would die, of course.”

“But that must happen very often,” Samigina Wyrd Alice remarked thoughtfully. “It always happens,” said the Gnat.

The Gnat to continue, “such to happen when the Art of Magic is habitually tethered to a religious constraint of a tradition. For example, a Satanist see’s Satan as a rebel of a horned Devil, to glorify as a Biblical Luciferian Angel; when in fact he was the first Mad Hatter Artist of a horned shaman.”

“Oh! I now seer,” said Samigina, to then say. “So If a religious sentiment is indulged in of thesis or antithesis, the practitioner is not practicing the fluidity of Sorcery, but instead practicing a static religion. Whereby validating its symbolic Matrix of constraints. These types of individuals will invariably consider those who exercise their imaginative freedom of rebellious (synthesis) Yesod artistry to be Entartete Kunst, ‘SINFUL.”

(Adapted quotes: Lewis Carroll’s, Alice’s Adventures ‘Through The Looking Glass’, Chapter III)