Within the Da’at realms of the symbolic interface of the dream, St Lilith’s Harem School of the arcane Arts can be found. Wherein of surrealist ideas, the Succubus Art Muses of an alternate Goetia, await the dreaming Artist to impregnate their hypnagogic hymen veils of conjuring seals, which to veil their planetary Chakra womb spheres of a pyramidal school hierarchy.
But first, the Artist to meditate upon their abstract two-dimensional Grimoire seals, when to conjure the Succubus Art Muses of the ‘Anima’ amidst the Triangle Of Art Imagination; so as to pop-surrealist knit together their exquisite corpses, as Tulpa Art models, to thereby visualise of active imagination, while howling out their barbarous names of Mantra.
Then, at the dozing point of hypnagogic trance impregnation into the womb dream, of introverted five senses, which of an inverse pentagram, is further enabled by drinking copious amounts of Casillero del Diablo; the conjured Art Muses to thence manifest as three-dimensional interactive realities, made as vivid flesh, within a lucid dream.
The trick is to then hypnopompic remember the sexagram Coitus Pactum of a sixth-sense lucid dream upon awakening; whence a microcosmic Hogwarts Art Muse, becomes as a St Trinian’s Art model to verily draw and paint.
Hell, what do you expect; hiring a macrocosmic flesh and blood Art model is hellishly expensive, nowadays!
Come to think of it, I had the same eternally recurring problem of eternal recurrence many a time around, which was somewhat exacerbated by me losing my artistic discipline; you know, getting, intimately involved, and all that slushy stuff; suffice to say, my easel got the better of me!
Now this time around the Ouroboros, I remember, to keep my easel firmly centred amidst my Magic Circle of an Art studio.
Hang on a minute; whats that? Three knocks at my Rune door, I do hear, this thirteenth hour. It’s Mephistophina, she has hunted me down again.
I answered the door, peering through its half opened creaking Yoni crack.
“Sorry, my dear, I cannot afford to pay you to pose for me, this Walpurgis night, I have to illustrate the rest of your Night-Mare sisters in the hood. Good bye and blessed be,” I to have loudly said.
Mephistophina, as of per usual, ignored me. She pushed the door open, and walked into my Art studio as a feline Cat-walk model dressed as an ‘Anima’ version of Marlowe’s and Goethe’s, Mephistopheles, replying, “What a forgetful old Goat you are. This night be Samhain; let’s Osculum Infame party, horny Baphomet. By the way, do you like my All Hallows Eve costume?”
I coughed, attempting to hide my extending easel; “look, I really have to concentrate on my Artwork… I have to earn some bloody Shekels, so that I can transmute this leaden Ouroboros of the skint into Gold; Hell, I’m still working the third Goetia Girls grimoire, let alone others on the go!”
Salaciously predatory Mephistophina be; her feline eyes lustfully Coitus Pactum aflame. She then to Tantric whisper hotly into my old Goats ear, “all is as Maya, my dearest, Faustus!”
(Goetia Girls book Three will soon be available on Amazon.)
The stories concerning Dr Faustus conjuring up the Devil, Mephistopheles, are primarily derived from Germanic folklore; wherefore, when to otherwise have a Succubus to verily name Mephistophina being conjured up by Faustus Crow, it is somewhat apt of symbolic alchemy to utilise the ancient Germanic Runes in order to do so.
The name of Mephistophina in Runic numerology adds up to thirteen, which is then reduced down to the single digit of four. Her name is also made up of thirteen letters, which of a bind-rune formula points at the thirteenth Rune of Eiwaz. The Rune of Eiwaz is associated with the world tree of Yggdrassil, whose thirteenth number is often associated with the feminine principle.
In Norse and Germanic mythology, Yggdrassil; from Old Norse Yggdrasill, pronounced, ˈYɡːˌDrasil, is an immense tree encapsulating all of existence. The motif of the world tree is central in North Central Asian shamanic practices unto Siberia as well as Norse and Germanic cosmology, whose branches and roots interconnect the nine worlds of existence; all of which are like schools.
The meaning of the Old Norse name, Yggdrasill is, ‘Odin’s horse,’ meaning ‘gallows.’ This then leads you to the single digit of four and that of the fourth Rune of Ansuz, which is associated with the shamanic deity, named, Odin, the Germanic tribes knew as Wotan or Woden, who being an archetypal wizard can be seen as influencing the characteristics of the Faustian sorcerer. Drasill translates into English as, horse, which in Siberian shamanic practice in particular, refers to the power of trance, and Ygg(r) is one of Odin’s many bynames, who is a prior ante-Christos Dr Who.
Ygg means, terrible one, which again refers to trance and the infernal harrowing of H.R Giger realities. In Siberian shamanic practice a shaman wears a vision visor when accessing trance in order to hide his terrible visage from the perturbed onlookers as he ‘howls’ out barbarous names of the spirits to conjure, during his changeling séance.
The Poetic Edda poem Hávamál describes how Odin had sacrificed himself by hanging from a tree, making the tree Odin’s gallows. The pre-Faustian reference to hanging refers to trance, since the reptilian brainstem and reticular activating system of the throat area determines your depth of trance ingress, as well as the vividness of your dreams.
As for the tree of Yggdrasil, it is a symbolic reference to the spinal column, nervous system, and the brain, which interprets the experiential information you tune into, as well as filtering out extraneous information from its ever repeating chaos of (Jormungand/Ouroboros) eternal recurrence.
When Mephistophina’s name is otherwise translated into numbers by using common numerology, her name adds up to the precession number of seventy-two, which is also the number of spirits listed in the Goetia. Aleister Crowley was enamoured with the Goetia, before his Boleskine house ascension to occult stardom.
The term Goetia, means, to ‘howl,’ whose listed (Animus archetypes) spirits have been transformed into seventy-succubae (Anima archetypes) whom frequent Lilith’s Harem, residing within the quantum domain of the dream.
This hidden (Da’at) world just so happens corresponds with the physiological throat area of the reptilian brainstem; hence alluding to the ability of trance ingress into conscious dreaming.
For sixty years the Kaluza-Klein theory of extra spatial dimensions existed only as a mathematical oddity.
However during the 1980’s it came to the fore. String theory, the idea that the fundamental building blocks of nature are string-like of a vibrating ‘Ouroboros,’ rather than being point-like.
String theory has been around since the late make love, not war, Hippie era of the 1960’s, when Timothy Leary had no doubt leafed through Aleister Crowley’s Goetia, to thence praise him as being a New-Age icon.
Then the physicists realised that string theory could provide something, which had so far eluded them: a single unifying theory, combining the physics of the very smallest and very largest scales, known as quantum gravity. But string theory has one very unique offering, which no other theory of physics has been able to offer. It was able to predict the number of dimensions of spacetime. For the mathematics of string theory to be consistent, the number of dimensions of spacetime must be ten, going fractal.
Initially people took this to be a criticism of string theory. If it predicts ten dimensions and you look around and only perceive four (three spatial dimensions and one time dimensions) then you might enquire: “Where are the other six dimensions to conjure?”
But Kaluza and Klein had solved that problem sixty years earlier, they rolled all the other dimensions up, which is none to dissimilar to the Cabbalists reducing ten back to one, whose numerological focus is primarily that of nine; or to be otherwise rebelliously summed up as a Succubus archetype of the FallenAnima to conjure.
Whilst exploring the mathematics of string theory, the theoretical physicist James Gates and his fellow researcher discovered something rather intriguing, which was buried deep within the mathematical equations of super symmetry. They discovered computer code. The computer code wasn’t just random 0’s and 1’s either, of a pact.
The code they had discovered is the same code, which is used in computer browser operating system software. Specifically; Block Linear Self Dual Error Correcting Code. Their super string theory of an attempt to explain reality, the ultimate reality, the theory of everything, pointed at what can be construed as being akin to a computer simulation. If you have theoretical physicists discovering computer code in their equations, it would indicate that the universe is a simulated reality.
If so, you have a hypothetical scenario, that we are all living within a quantum computer simulation, which our future descendants have constructed. Just like a computer today, multiple simulations can be run off of the same computer and off of the same program. Whereby if it were the case that our Universe is a simulation as some scientists believe it is, then this universe wouldn’t be the only simulated universe.
There would also be a myriad number of other alternate realities existing within simulated universes of a Multiverse Matrix; whose mainframe program can manifest as a Succubus within the symbolic interface of the dream, as an inspiring Muse aspect of the FallenAnima.
The problem Faustus Crow faced was, how would he ever know if he was living within a computer simulation, the ancient Hindu mystics had termed as being Maya?
If he could not escape the Maya simulation, how could he ever get to look at it from the outside in?
NOTE: The utilisation of the term Succubus is not of the Medieval tunnel-vision mold, it is more akin to what a Tibetan Buddhist would call a Dakini. The (Succubi/Succubae) Dakinis are the myriad feminine (Muse) aspects of Shakti, Carl Jung would term as the ‘Anima,’ whose (Shakti) archetype manifests as numerous female characters within dreams, such as Dakinis, Succubae, Valkyries, Goddesses or Art Muses, etc. This is more so the ‘Conjuring’ case, when (Browsing/Gliding/Sleipnir) lucid.
The Dakinis were seen as personifications of Hindu/Buddhist spiritual concepts, which can be otherwise aligned with concepts to do with Art or science, etc. The technique involved conjuring a Dakini into a lucid dream, so that a Raging Buddha Surrealist Artist can access the concept, ideas and teachings, etc, she personifies as a Dakini Art Muse.
A grimoire is a textbook of magic, which is the literary fare of Harry Potter. These books typically have instructions on how to create magical objects, like talismans and amulets, as well as to how to perform magical spells, charms and divination.
A grimoire also lists supernatural entities, such as Angels, Spirits, and Daemons, which are sometimes liberally illustrated; they are somewhat likened to that of art books; although they are more like proto-comics in style.
The illustrated entities, which populate a grimoire, are of similarity to a Yidam. A Yidam is essentially a two-dimensional image, which is seen to be a repository for a type of deity associated with Tantric or Vajrayana Buddhism.
The Yidam usually depicts a deity, who is shown copulating with a female counterpart, called a Dakini; the imagery of which tends to be highly erotic. The term, erotic, is the operative word here, not pornographic! Those whom castigate this practice as being merely pornographic entirely miss the point of Dream Yoga, more so those who indulge in externalising it of base hedonism.
During personal meditation (Sadhana) practice, the Yogi identifies himself with the focussed upon deity, which represents an attribute, power and state of mind the Yogi seeks to assume, of an inner-self-image, for the purpose of self transformation.
The Dakini will then enable the Yogi to assume the guise of the (strange attractor) deity, since the (informational associative fractal) dream, which is the (Shakti) power of the Dakini, will reflect him back as the deity.
When a lucid dream is achieved, the dream will be the three-dimensional experiential manifestation of the two-dimensional image of the Yidam.
In other words, the three-dimensional experiential inner reality of the dream will be pre-programmed by the focused upon two-dimensional Yidam.
The Yidam would equate with an illustration of a spirit in a grimoire. The term, Yidam is sometimes translated as meaning, meditational deity, or, tutelary deity.
Examples of Yidams include the meditation deities of, Chakrasamvara, Kalachakra, Hevajra, Yamantaka, and Vajrayogini, all of whom have a distinctive iconography, with associated mandalas and mantra rites of conjuring them as Tulpas.
Not all Yidams depict a deity copulating with a Dakini; many of which just illustrate Dakinis, upon whom the Yogi meditates, while imagining himself sexually engaging with them of Dream Yoga.
This is of course dependent on whether the Yogi is of a heterosexual persuasion or even of a bisexual orientation.
A Dakini can even be seen as an alien girl, piloting a time travelling UFO of a TARDIS, who represents (Sleipnir) information pertaining to the Star Trek future, to thereby remote view via a lucid dream by the practitioner, who has assumed the (deity/Odin) guise of a ‘Dr Who’ shaman.
Whatever form the Dakini is depicted as, of a two-dimensional Yidam painting, it will determine the type of scenario the practitioner will access of a three-dimensional interactive reality within a dream.
Although, if your sexual orientation is otherwise predisposed, you can stick with conjuring up Daka Angels and Demons of traditional commonality, betwixt and between your ‘Animus’ fixation upon a machismo God and a butch Devil seeking to enter unto your orifice.
This fact of symbolic logic can either put a broad smile on your knowing face when to become as the Shekhinah vessel for your God, or for you to rapine scream that you are being possessed, due to your sheepish ignorance. Well, what do you bloody expect, a male does enter into a woman, it’s ‘fucking nature!’
GOETIA GIRLS SUCCUBUS ART BOOK ‘TWO’ IS NOW AVAILABLE.
Book Two will only be available in ‘Paperback,’ likewise with Book Three. These Books will ‘Not’ be available on Kindle.Book Three will soon be available on Amazon.
Many would say that Austin Osman Spare had his career entirely the wrong way round, who began as a West End celebrity to then end up in an obscure South London basement. By the time Spare departed this materialist circus, back in 1956, he had been largely forgotten by the square brained art world. But since Spare’s demise, like many another dead artist earning shekels for collectors, he has become a legendary figure, not just for his remarkable art, but for his even more remarkable inner life as a twentieth century sorcerer and magical thinker.
Spare was ushered into this world in Smithfield during 1886; he was the son of a policeman, whose father walked the peeler beat where steampunk Jack the Ripper once stalked his prey. As for his son, he was hailed as a prodigy, genius, and all-round enfant terrible of the Edwardian art world. Spare was the youngest exhibitor at the 1904 Royal Academy exhibition, who went on to attend the Royal College of Art, where he dropped out without completing the course, and had his first West End show at the Bruton Gallery in 1907.
Some critics praised his artistry (“almost unrivalled”; “his management of line has not been equalled since the days of Aubrey Beardsley; his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors”); but others absolutely deplored Spare’s depicted visions, already seeing Spare’s work as being abnormal, pathological, and entartete kunst degenerate.
George Bernard Shaw is said to have remarked that Spare’s medicine was too strong for the normal man; yet said normal man of a sensitive morality, ended up amidst the horror of the WWI trenches. Although, controversial as he was, Spare was still the Darling of Mayfair. But this was not to last. Later Spare would be selling pictures in South London pubs, and advertising his ‘Surrealist Racing Forecast Cards’ through a small ad in the Exchange and Mart.
Spare’s work started to become far more stranger of grimoire vision, which for those of his hypocritical era could not handle, whose mindset still afflicts the present; this was usually in the main due to Spare’s work being highly erotic of content; whereas in hindsight, Spare’s artistry was of similarity to a proto-Dadaist and that of proto-Surrealism.
A number of Spare’s magical works, were primarily orientated towards triggering him into a lucid state within his vivid dreams. Some of his later creations were that of painting intricate sigils upon the screens of defunct television sets, which he had liberally gutted; such creations will be considered to be rather odd, to say the least, by those who do not understand what Spare was up to.
Spare utilised the symbolism of a television set as a means to trigger him into lucidity within his dreams, as well as accessing what a television represents, which of a temporal device, allows the observer to access information beyond him/herself. But, within the arena of the dream, the symbol of a television can trigger the dreamer to become lucid, whom can then access the television, like that of a stargate to travel through, when to tune it of a sigilised desire into other art gallery worlds.
Of course, the science fiction film of stargate had come out some years after Spare’s demise, but Spare had prior utilised similar symbolism concerning an everyday device of a television set, upon which many are collectively hypnotised by of an eye in their living room. However, Spare utilised it to mediate upon in order to initiate third-eye hypnagogic trance ingress into a lucid dream, where his sigilised television set is verily transformed into a vaginal stargate.
The television set was still somewhat of a technological innovation during Spare’s corporeal era, which has since been superseded by the usage of a computer.
The computer has associations with alternate realities in regards to computer games and films. You also have the internet in relation to accessing information beyond yourself. Wherefore, the computer can be seen as a labyrinthine abode for spirits, you can otherwise see as salacious Succubae.
You could even associate the symbolism of a the computer with a Harem school of seven planetary spheres, which is further equated with a Genie bottle, of a trigger symbol within the dream.
The Succubae can then be seen as Virtual Girls, whose abode is that of a computer, which is their Harem school of a Genie bottle. You then have a sorcerer conjuring Succubae out of his Genie bottle of a grimoire computer when to become consciously aware within a virtual reality lucid dream.
As for sigilising your computer, such is not necessary of a meditation aid; for you can otherwise artistically create an appropriate two-dimensional sigilic wallpaper and that of a Succubae screensaver for your Genie bottle of a grimoire computer, which when meditated upon Spare style, will initiate hypnagogic trance ingress into your associative dreams of three-dimensional artistry; when to do so, you will attain an artistic insight into what Spare was up to as a sorcerer.
Is it possible to conjure Succubae into your dreams to make them lucid of awareness; whererin you can then experience a fully immersive experience of a sixth (Sexagram) sense, involving all of your five (Pentagram) senses? Yes, it is indeed possible. However, it will require some practice on your part. As they say, practice makes perfect.
The practice of conjuring Succubae into your dreams, to make lucid of awareness, is not an escape route into hedonic fantasy. It does have a very serious side to its artistic Sorcery practice.
You will find in Tibetan Bon-Po Shamanism, whose ancient techniques heavily influenced Tibetan Buddhism, the Succubae are otherwise called Dakinis, the psychologist Carl Jung would see as being aspects of the Anima.
The conjuration of Dakinis is none too different to those techniques used in Western Ritual Magic, when evoking spirits out of a grimoire. The only difference is the sexual emphasis.
Western Occult practices tend to negate the sexual impulse in preference to conjuring up an all male pantheon of entities, in order to reinforce its Animus fixated religious dogma.
Whereas Tibetan Buddhist practices internalise the sexual impulse, in order to empower the creative activity of lucid dreaming.
This is achieved by meditating upon the erotic form of a Dakini, which enables the internalisation of the sexual impulse, to thereby enable the eventual initiation of a lucid dream encounter with a specifically chosen Dakini aspect of the Anima, a Hindu or Tantric Buddhist would terms as being Shakti.
A Dakini is likened to a Genie, who has particular powers and abilities to bestow upon the practitioner, via sexual congress with her, from within the dream.
This has already been accomplished in the laboratory to a certain extent to be taken much further, which will eventually lead to innovations in fully immersive, computer generated virtual realities.
Many a Golden Dawn mage evokes machismo OTO Angels and butch Demons of Incubus commonality from out of their indoctrinated Biblical Grimoires, whose deified Animus made as a God/Devil, have castigated the Anima, and all her Succubae into their Hell.
But, Faustus Crow, being a rebellious Sorcerer that he is, otherwise conjures up the Fallen Anima and all her Succubae Great Old Ones, from out of their Necronomicon necropolis, who haunt Crow’s haunted art studio, as his waxen Tulpa Mind-Dolls.
These Succubae Mind Dolls have been given two-dimensional form of image, to thence conjure into three-dimensional reality, within his sixth sense lucid dreams of a wrought Sexagram.
Wherein, they become real amidst the sensory realm of the dream, where Crow’s five senses of the inverse pentagram, have been introverted into.
The Succubae be the true ‘Great Old Ones’ frequenting the DIANA-LUCIFERA pages of Crow’s ‘Howling’ Goetia.
The grimoire of Faustus Crow is Lowbrow of rebellious style, whence Underground of comic art, which does not allow for the religious sentiment to take root.
Because, the static fixation of a religion has nothing whatsoever to do with the fluidity of Magic; for the practice of Magic is indivisible to the practice of Art.
NOTE:When a heterosexual female is asked to imagine, her idea of a perfect male partner, she conjures up a male aspect of her Animus, like that of conjuring Incubi from out of a classical Playgirl grimoire, listing Good-Guy Beta-male Angels and Bad-Boy Alpha-male Demons.
The Animus is the objectified male archetype, residing within the heterosexual female psyche, which influences her choice of mates. The Animus has been deified as an All-father God/Devil, whose religious cultural-construct of an Animus fixated symbolic paradigm permeates language and all levels of popular culture.
When a heterosexual male is asked to imagine, his idea of a perfect female partner, he conjures up a female aspect of his Anima. There are no historical examples of a Playboy grimoire listing the archetypes of the Anima, since the Anima has been castigated out of the symbolic equation as the Fallen.
Wherefore, if there be a historical example of a banned grimoire like that of the Necronomicon, it would list the Succubus archetypes of the Fallen Anima. However, as already mentioned, there is no historical example of a Playboy grimoire ever existing, since the fallen Anima and her Succubus Great Old Ones are considered to be politically incorrect pornographic objectifications of the female.
In other words, the psyche of the heterosexual male is religiously/politically influenced and controlled by castigating the Anima out of the symbolic equation as being Entartete Kunst.
The Animus and Anima change over archetypal roles within the psyches of those who have differing sexual orientations.
FAUSTUS CROW 