Archive for symbolism

FALLEN ANIMA

Posted in Art, Chaos Magic, Film, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 30, 2019 by FAUSTUS CROW

Falling down the Rabbit hole, a subway infernal, travelling the Tarot tunnels without moving

‘Hypnagogic’ of a trance jolt, awakening within a rebellious Faustian dream, dreaming lucid unto a new ‘Dawn Chorus’

Fallen Anima catching the Seer eye; her politically incorrect Succubus archetype, inspiring as a Chaos Magic Art Muse

She drops her Ankh bag knowingly, within which there be her banned Apple of self-knowledge, to fall along the dystopian 27th path of the Kabbalah, betwixt the lightning struck towers

Into her informational labyrinth to thence Buster Keaton go from Yesod 9 to Da’at 11, Maya Matrix style

Whereas others commonly ‘Traffic’ mind conjure up a Big-Brother Animus to deify of centralist politics

Who ‘Not-The-News’ worship their deified Animus as a God and Devil of an Orwellian Sauron eye, which watches all within the Spartan Military Industrial Complex of an Oily New-World-Order Eden

Hence, a certain ‘symbolic interface,’ manifesting within quantum computing dreams is considered as being revealingly dangerous. Wherefore, its symbolism has been banned as being a politically incorrect Lilith Apple!

NOTE: Whenever a heterosexual female is asked to imagine her ideal male partner, she is conjuring up an archetypal aspect of her Animus within her imagination to thence dream about.

Whenever a heterosexual male is asked to imagine his perfect idea of a female partner, he is conjuring up an aspect of his Anima, within his imagination to also third-eye dream of.

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The Animus and Anima are not mere Jungian concepts, they are psychological realities, which are entwined with your biological imperative to procreate.

All life is driven towards replicating in order for a species to survive and evolve. Carl Jung’s description of the Animus and Anima tends to be very convoluted of esoteric terminology, which might have been his way of hiding what he had discovered, due to its far reaching ramifications.

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This is especially the case concerning the three gender based monotheistic religions and their Oily political agendas. Jung did not want to end up being tarred and feathered by an outraged public, who, of a prior age would have burnt him at the stake. Although, it might have been the case that he had missed the simplicity of it all, who otherwise preferred the safety of turnstile complexity. 

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Carl Jung was not the first to have discovered the psychological/biological realities of the Animus and Anima, though he was the first to have scientifically described their archetypal influence upon the psyche. Many of the animist orientated shamanic cultures already explored the ‘balanced’ relationship interactions of the Animus and Anima within their myths, in which Animus/Gods and Anima/Goddesses of varying sexual orientations copulate all over the place. 

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When first getting into a relationship, the attraction to a potential partner is heavily influenced by the inner archetypes of the Animus and Anima. The subconscious influence of the Animus and Anima initiates the phenomenon of falling in love at first sight.

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It is unwise to unknowingly project the Animus or Anima upon a prospective partner, since another individual is unable to become what has been projected; this can lead to all sorts of relationship problems.

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A woman is intutively aware that the sexuality of a male is in the main visually excited by her erotic Muse presence, and that his imaginative capabilities of artistic visualisation have to be eventually ‘tamed, controlled’ and redirected towards her, due to the inner conjurations of his Anima within his psyche, which make his (Chakra/gland) ‘Unicorn’ Horn erect.

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Wherefore, the Anima within the male psyche is eventually transformed into a Virgin Mary. This is easy to achieve via subversive social-engineering by utilising the controlled mass-media machine, since most males are totally unaware of the existence of their Anima, whose Succubus Muse archetypes light up the tool making part of his Horned brain.

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Whence you have the Beauty and the Beast symbolism of a ‘Unicorn’ (Beast) laying his Horn in a (Beauty) maiden’s [Feminist] lap, who then rides him, wherever she desires to go, and all because he unknowingly projected his Anima upon her. It’s all hard-wired biology at the end of the day.   

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As for the bigger picture of a mass-mind projection, one has the monotheist fixation upon the male gender, which is a Fifty Shades Of Grey deification of the Animus as a God/Devil. When you have an overriding religious/political focus upon a particular gender, it invariably has an underlying sexual orientation; it’s biological; whence one has the symbolism of Babalon riding the Horned Beast. 

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The monotheistic fixation upon the deified Animus has castigated the Anima and her legions of Succubus (Goddess) archetypes into the politically incorrect pit as the Entartete Kunst Fallen, to verily censor and ban as being mere heterosexual ‘male-gaze’ porn; this collective herd-mind-control process continues. 

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Basically, the heterosexual male psyche in particular, can be manipulated, influenced and controlled by subversively manipulating the archetypes of the tortured Anima.

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I am not saying that Feminist politics is manipulating the male psyche. It is more of a case of certain intelligence agencies have hijacked Feminist politics, along with the New-Age movement since the end of the Vietnam war era by infiltrating the paper strewn universities.

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Both of these movements had first stemmed from the universities, which were at the forefront of the anti-war protests that brought down the puppet government of the Military Industrial Complex.

The intelligence agencies have since worked towards negating any further anti-war protests by weaponising minorities, without them realising what is going on.

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This has led to the negation of free-speech, censorship and the initiation of draconian totalitarian/fascist laws being implemented, along with dividing and conquering the masses.

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The masses then become drawn into subversively engineered PsyOp New-Age protests about gender issues of a ‘distraction,’ while numerous Oily wars are being waged around them, whether they be economic wars, utilising crippling sanctions or that of hot wars using the bombing facade of bringing democracy to Oil rich lands, which invariably leads to the mass migration of peoples.

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Some years ago, you had Band Aid, which was founded in 1984 by Bob Geldof and Midge Ure to raise money for anti-famine efforts in civil war torn Ethiopia, although most were unaware that the Ethiopian crisis was being caused by a civil war. At the time the Ethiopian dictator, Mengistu, was backed by the the now defunct Soviet Union. While the civil war raged and its associated Western proxy-wars with the Soviet Union caused mass famine, Band Aid raised public donations by releasing the song “Do They Know It’s Christmas?”

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There is presently a humanitarian crisis in Oily Yemen, which is far worse than what had occurred in Ethiopia. There is no protesting Band Aid equivalent for Yemen, which is probably due to the music industry being heavily controlled since the late 60’s. In other words, a musician who toes the corporate owned controlled-media line, will be fine, attaining fame and fortune for a time.

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If however, a musician rebels against the engineered mainstream, said musician will be promptly ignored. Any musician who becomes involved in protesting about Yemen will have to highlight the American support for dictator Ali Adullah Saleh, whose civil war has totally wrecked Yemen since 2014.

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Yemen’s neighbor is Oily Wahhabi Saudi Arabia, itself among the region’s cruelest dictatorships and a staunch U.S. ally, became nervous in 2015 about the outcome of the conflict, and with support from nine regional Oily allies, began subjecting the country to a punishing barrage of airstrikes, along with imposing a blockade, which ended the inflow of food and supplies to Yemen through a major port.

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This has led to the worst humanitarian crisis this century, leading to an ensuing mass migration of peoples… So, where’s anti-war protesting Band Aid? The sad truth is, Band Aid was being subversively utilised by war profiteers, profiteering from a a forever war and its mass-migrations, who considered Band Aid to be their financially lucrative Christmas present.  

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As for the PsyOp engineered Band-Aid protests over gender, whose protesters might consider the Animus and Anima to be anathema to their nigh Orwellian New-Speak, the Animus and Anima change over symbolic roles for those of different sexual orientations. 

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NOTE: Thom Yorke’s film, Anima, which is directed by Paul Thomas Anderson, is set to three songs: Not the News, Traffic, and Dawn Chorus, of a ‘threefold coercion of the dream.’ The ‘threefold coercion of the dream’ is associated with the Nigredo stage of hypnagogic trance ingress into the (Not the News) dream. Then one has the Albedo stage of becoming consciously aware within a (Traffic) dream. This then leads to the Rubedo stage of Hypnopompic egress out of the dream, when to (Dawn Chorus) awaken.

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The Nigredo, Albedo and Rubedo of alchemical colours, Black, White and Red, are also known in Hinduism as the three Gunas, which are the three colours of Shakti, the psychologist Carl Jung would otherwise call, Anima. The manifestation of the Anima in the film is played by Dajana Roncione who is Yorke’s (Shakti) girlfriend. 

MAKE LOVE, NOT WAR!      

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SORCERY ART COOL WORLD LUCID DREAMING

Posted in Art, Chaos Magic, Film, Ghost, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 18, 2016 by FAUSTUS CROW

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Visualising a mind-doll to sculpt of consummate thought form amidst the triangle of Art Imagination, to thence conjure, of manifest painting, is an act of sorcery.

This is more so the case when the imagined Artist’s model indulges in an Active Imagination intercourse of an internal dialogue, with her conjurer, who as a Muse, inspires the Artist as his created ghost.

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Should this sound far too strange, it is because you have not, as yet realised your potential as being, an Artist, perhaps such is never to be your arena of exploration. You will find that most Artists create imaginary characters, and other imagined creations of varying degrees of visionary intensity in order to manifest them of artistry; it is essentially what magic is about.

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Those who say otherwise are just followers of the Artists creations who indulge in religion. The Artists imagination is unfettered, like that of a child looking upon the world for the first time, which of Art manifests as bright incandescent colours, nigh abstract of non consceptualised form; some believe this to be the unsullied source, unblemished by the morass of life experiences, being the first language of a symbolic perception.

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But it isn’t; though that of the foundation stone, it is not the temple. The problem however, is that the foundation stone of the first language is forgotten as the temple of further conceptualisations is built over time.

Whereupon, the temple becomes that of a fixed tunnel reality of a mundane perception, which afflicts many an adult and society in general who feel as if they are in a Plato’s cave of a drab prison.

This state of being is often exacerbated by religious perceptions, which are nigh unchangeable of a Matrix of symbolic prison bars, whose hold over the mass populace is perpetuated by the indoctrinated generations over great stretches of time; hence brainwashed.

There are those who believe that their temple needs to be totally pulled down so as to return back to the first language of the abstract child, likened to that of returning back to the blissful ignorance of an innocent abstract Eden before sentience was attained. Alas, the perception of a child cannot survive for long in this world; hence the sentient creation of the temple in the first place.

The answer lies in the Da’at Apple lore ‘Knowledge’ to question how the temple of further conceptualisations was created of sentient observations over time, which leads you to the first shaman of the painted cave who as a horned Artist knows that the way out of Plato’s cave is to go internal.

The shaman is aware that a two-dimensional image can become as a three-dimensional interactive reality within a ‘Cool World’ lucid dream.

For a shaman an image symbolically encapsulates the spiritual (energy/informational) essence of what the shaman is focusing upon of artistic creativity, which of a conceptualisation is a living reality within the symbolic interface of the dream.

Those who do not understand that a two-dimensional image can become as three-dimensional reality within a lucid dream will invariably misunderstand Palaeolithic cave Art; for they have forgotten how to dream, which invariably leads to labyrinthine intellectualisations about cultural influences, that reveals they do not have any personal experience of the internal reality.

The same can be said for the present practice of Art, whose creations are religiously pumped out for the mass consumption of the worshipping masses; much of which has become totally disconnected from the internal reality of the dreaming shaman.

The shaman is not a child, but he/she is very much aware of the first language form of the child, which is that of the unfettered imagination; whereupon, what artistic conceptualisations are further created know no limits.

Whence, the shaman Artist conjures up two-dimensional creations into a three-dimensional-reality within his/her dreams, which enables the expansion of consciousness to go beyond the established conceptualised limits, by creating new concepts; many of which can potentially lead to Art movements and ensuing social changes.

For example, a sorcerer Artist can personify a concept as being his Art Muse, of a conjured Succubus, who visits him within his lucid dreams; whereupon he attains ingress into her Art studio of a painted Parisian cave.

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In other words, if the sorcerer Artist had created a Succubus to personify another temporal place or epoch of time, to time-travel remote-view, or to be of some other planetary sphere or alternate Earth, etc, he will be able to access what she symbolically represents within a lucid dream, when to conjure her, of an ‘Anima’ fluctuation.

Some to say, that you should not dally with entities; but you do so whenever your quantum computing brain dreams up its created virtual realities, populated by your creations, a Tibetan Buddhist would term as being Tulpas, which, when becoming lucid, you can consciously engage with.

Others will argue that the entities of the dream are discarnate personalities, that, or other dreamers, or even another order of intelligence, etc. All can be true, or not as the case may be of varying concepts, which of a personal truth will be determined by the (Da’at) beliefs you have.

Your Da’at beliefs will in turn determine what you tune into within the dream of ring-pass-not limits. But if you so choose to of artistry, you can seer beyond them, by metaprogramming your own brain.

But if you otherwise worship your programmed concepts to not question, of a religious fixation, you will be ‘imprisoned’ by your own beliefs, which, should you ever decide to fathom how they were first formulated of a temple creation, you will duly find the horned shaman Artist.

Suffice to say, a conjured Artist’s model of an exotic otherworldly Succubus does not require any Shekels to hire her rather expensive services. Although, it does require the Artist to hone his Visualisation skills as well as exercising his Active Imagination, let alone remembering his ‘Cool World’ dreams. But then, such a skill set is part and parcel of his sorcerer vocation as a shaman Artist.

Basically, Art and Sorcery are indivisible from the other, they are one and the same of Shamanic practice, which is otherwise termed as Magic, Witchcraft or the Occult, etc.

You only see pigeonholed differences between these terms because the terminology commonly conjures up a symbolic language of trained associations.

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But it is that of the shared ‘techniques’ of consciousness expansion they employ of a ‘foundation stone,’ which unifies them into Art; wherefore a sword is a pencil, a wand is a paint brush, your pentacle, the canvas, of a one time cave wall.

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LARA CROFT DINOSAUR GIRL VIRTUAL REALITY LUCID DREAMS

Posted in Alien, Art, Chaos Magic, Cosplay, Dinosaur, Extraterrestrial, Film, Goetia Girls, Lucid Dreaming, Occultism, Paleontology, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 9, 2016 by FAUSTUS CROW

Should you conjure up the twenty-seventh Succubus out of her genie lamp of the British Natural History Museum, who be called Ronovea, to thence appear amidst your Triangle Of Art Imagination; she will duly manifest within your ensuing virtual reality lucid dreams, looking like Lara Croft, riding a dinosaur. You will soon discover she is a time travelling Marchioness and a Great Countess; and there be under her command 19 ultra-terrestrial Legions of salacious Succubae.

One of Ronovea’s many Muse specialities besides that of inspiring an interest in palaeontology, is to guide you into looking at language, not just any language, but that of a primary language, of symbolic information, buried deep within you, of a fossil code.

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Ronovea will first reveal that all the stars, planets and galaxies make up just 4 percent of the universe. The other 96 percent is apparently made of stuff astronomers cannot see, detect or even comprehend; may be they call it junk space in secret; well, actually the scientists call this unknown 96 percent dark energy and dark matter, perhaps they should otherwise term it as being… information… that’s if they see the universe as being a (hologram) simulation.

It just so happens that 97 percent of your DNA is also considered junk, perhaps they should call it dark energy and dark matter; but such terminology is that of the purely cosmological, so it is otherwise termed as Introns; whereas only about 3 percent of the DNA actually codes for amino acids, which in turn makes proteins, and eventually creating, little reptilian David Icke raptors, I mean… children… you know, those squidgy, naked ape, things, who like eating ‘indigo’ jelly babies, imported from ‘eugenic’ California.

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For a time, the Introns had no known use or function! But, after a time an unusual thing occurred, a bunch of Molecular Biologists, Cryptoanalysists, Linguists and Physicists got together without fighting each other in local bars, who have duly found strange hints of a hidden language in this so- called (space) junk DNA.

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Ronovea will also tell of Simon Shepherd, who, likened to Simon Magus, sheperd’s his students in cryptography, although in this present age, such an occult art is used for ‘computer’ security. Shepherd lectures at the University of Bradford in the United Kingdom who took an alternative approach to the DNA.

Like Commander Shepherd out of the Mass Effect video game, Shepherd, looked upon the junk DNA, as a secret ‘dark-space’ code to be broken, somewhat like those pesky WWII Reaper codes used by the eugenic Nazis, which required being broken prior to the big-gun invasion of Normandy.

After analysing the code of the DNA, Shepherd found that one probable function of the dark space Introns, is that they are some sort of ‘error correction’ code, of similarity to those used by computers.

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The error correction code is a big gun fix for the occasional mistakes, which occurs as the DNA replicates itself. It has since been discovered that the Introns are also switches for (programs) genes.

The next big breakthrough came when the medical doctors, physicists and the linguists decided to not beat each other up within their Masonic Beehive lodges, but instead work together as a coven around their worker-Bee focus.

They soon discovered even more evidence that there was a sort-of symbolic ‘picture’ language buried within the Introns.

According to the linguists, all human languages obey Zipf’s Law. It is a really strange occult law, but it is not too hard to understand. You start off by acquiring a grimoire. Then, you count the number of times each word appears in your rebellious tome. You might find that the number one most popular word is “The,” which appears 2,000 times, followed by the second most popular word “A,” which appears 1,800 times, and so on. Right down at the bottom of the list, you have the least popular word, which might be “God” of an Animus fixation, which appears just once; well, in my ‘Anima’ grimoire anyway.

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You then set up two columns of numbers. One column will be the order of popularity of the words, running from “1” for “The”, and “2” for “A”, right down to “1,000” for “God”. The other column counts how many times each word has appeared, starting off with 2,000 appearances of “The”, then 1,800 appearances of “A”, down to one appearance of “God”.

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If you then plot on the right kind of graph paper, the order of popularity of the words, against the number of times each word appears you will get a straight line. What is very strange, is that this straight line appears for every human language, whether it is English or Egyptian, Eskimo, Chinese or ancient languages! However the DNA is just one continuous ladder of innumerable rungs, which is not neatly broken up into individual key-words like in a mind hack grimoire.

So the scientists looked at a very long bit of DNA, who then created artificial words by breaking up the DNA into “words,” each 3 rungs long. And then they tried it again for “words” 4 rungs long, 5 rungs long, and so on up to 8 rungs long. The scientists then eagerly analysed their words, and to the great surprise of their gathered coven, they got the same sort of Zipf Law/straight-line-graph for the human DNA, which is mostly dark space Introns, as they did for the human languages! They duly discovered Pandora’s pithos.

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There seems to be some sort of language buried in the so-called junk DNA, which appears to correlate with dark energy and dark matter of the universe; as the occult adage, goes: “So Above, So Below!”

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So now, as Elon Musk looks unto Mass Effect Mars, from where, some to say, the serpentine DNA, had first stemmed, riding the back of a Martian meteorite, the scientists are presently awaiting their coming Transhumanist Singularity.

Perhaps there was an ancient Star Wars, from whence a rebellious fallen star, fell to Earth, giving rise to the Great Old Ones, who be our most ancient ancestors, stirring dreams of invention. Their Muse influence over great stretches of time led to an invariable understanding of the 3 percent of the DNA, which makes amino acids, proteins and Tetrachromat Raptor Chick aliens! Oops! I mean… humans.

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And the remaining 97 percent; appears to be that of a buried language, which of encoded information can be accessed via the symbolic interface of a lucid dream, when to conjure an associated ultra-terrestrial Succubus, such as Ronovea. But don’t tell anyone what you are up to with your own brain, otherwise they’ll think you are absolutely crazy, or high on mind altering drugs.

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The establishment doesn’t like you accessing altered states of consciousness. If you’re not too careful, they’ll forcefully medicate your DMT producing pineal gland in order to calcify your ‘amphibian’ third eye. Hang on! They’ve already done that, by fluoridating your water supply with mutagenic compounds and neuro-toxins… crafty buggers! Shit! They even get you to give fluoridated water to the kiddies! They’re the type of ‘eugenic’ Nazi X-File creeps, who repetitively repeat their… mistake… Ronovea would like to feed them to her raptor!

Anyway, as you consciously access hypnagogic trance at the point of sleep you might very dimly perceive the conjured Succubus Muse of your lucid dream riding a giant reptilian creature, which is reposing sluggishly at the lowermost depths of the back of your (Qoph) brain, where of a (Da’at) reptilian-brain-stem, it meets the top of your spinal column.

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You might vaguely see Ronovea in what seems to be at first gloomy, dark depths. Then she will project a vivid visual scene in front of you, into which you can enter of a three-dimensional interactive reality, like that of a ‘hologram.’

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First Ronovea will show you the planet Earth as it was eons ago, before there was any life on it, over which the Moon is writ large, far larger of sphere, than it is today, to also seer Mars on fire, far away, with a five pointed star of Sirius twinkling. That’s if you can take your eyes off Ronovea, who will attempt to seduce you.

You will see an ocean, barren land, and a bright blue sky, which of a locale is now Siberia, of oldest fossil record revealed by palaeontologist Trilobites.

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Then legions of black specks will drop from the sky to then land in front of you upon the barren landscape. You might see that the specks are actually large, shiny, black creatures with ‘stubby Pterodactyl-like wings and huge whale-like bodies.’ Their heads will not be visible to you at first of memories.

Each of these creatures will be ridden by a most wanton Succubus as they flop down, utterly exhausted from their long trip, resting for eons.

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Ronovea will then explain to you of ‘symbolic language’ that they were fleeing from something out in space, as well as throughout time.

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They had come to the young planet Earth to escape a catastrophe, to later awaken the dreamer to dream of them, and in the remembering, to stop a repeat of a… mistake.

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Ronovea will then show you how they had created all life upon the planet in order to take up residence within the multitudinous carbon-based life forms, wherein their Mitochondrial DNA bio-photon intelligence spins your electron dreams.

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Before you, the magnificence of plant and animal creation and speciation, hundreds of millions of years of activity will take place on a scale and with a vividness impossible to describe.

You will discover that the Dragon-like creatures are thus ‘inside of all forms of life,’ including humanity.

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Ronovea will reveal they are the true Great Old Ones of a real Necronomicon, listing the Playboy mitochondrial DNA mistresses of humanity and the entire planet. That is why they are not listed in any Playgirl grimoire, which has been subversively patronised by Rome’s Church of an ‘Animus’ fixation. We humans are but the receptacles for this otherworldly intelligence; for they are within your DNA, which is very much entwined of serpentine double-helix coils around Space-Time.

NOTE: The above is a surrealistic synthesis of information, many a square headed literal mind will consider to be absolutely crazy. If so, I do not care; for they entirely miss the point.

The surrealistic synthesis is a (program) back-story, which was artistically utilised for a (virtual reality) dream-working. The back-story (program) was woven around a two dimensional image of Ronovea I created as a meditation tool, whose symbolism was then implanted into the (virtual reality) dream.

When I recognised the symbolism of the implanted image within the (virtual reality) dream, it then triggered me into lucidity. When becoming lucid I was then enabled to conjure Ronovea, who manifested as a three-dimensional interactive reality (program) within the (virtual reality) dream. 

The symbolic motif of the inner Dragon, is in part based, upon the experience of the anthropologist Michael Harner, when he partook of Ayahuasca during 1961, while living with the Conibo of the Amazon.

As to his own Christian name, of an obvious Biblical ‘association,’ it goes without saying, that it had subconsciously influenced his visionary state. But then he had been brought up within a primarily Judaeo-Christian culture, whose media machine is geared towards propagating religious propaganda.

The Conibo themselves were not entirely free of the same influence due to the legions of American Missionaries, who paved the way for their logger patrons, followed by slash and burn McDonald cattle ranchers. Wherefore you have cultural contamination besides that of European viruses afflicting the natives.

When in an altered state of consciousness, whether it be that of being induced by a hallucinogen or otherwise that of lucid dreaming, your ‘language’ form of (Key-Word) symbolic conjurations, will determine what type of information you (Browse) access within the dream. Hence the use of a surrealistic synthesis of information, I used as a back-story for my Art.

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DEMON ALIEN ANGEL

Posted in Alien, Art, Chaos Magic, Demon, Demonology, Devil, Extraterrestrial, Film, Occultism, Psychology, Science Fiction, Surrealism, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 4, 2015 by FAUSTUS CROW

Sacred and profane, Angels and Demons transformed into Science Fiction Aliens; such is the mainstay of UFO lore, along with the media machine of the film industry, which manages your symbolic perception of reality; whether it be that of Demonic reptilians, spectral Greys, Angelic Nordics or Satanic men in black, etc.

It is all a continuation of an age old viral-meme, concerning horned up critters and their phallic symbolism, of a deified ‘Animus’ made as a God and Devil.

The majority of films, if not all are specifically made to conjure up the ‘Animus,’ residing amidst the psyches of all Women.

Whether it be monstrous of ‘Animus’ manifestation or otherwise of a projection upon men, it can be easily ‘socially engineered’ by the heavily controlled mass-media machine.

In Holy-Wood, ‘No One Can Hear A Woman Scream.’ Apart from those who love to make money off the back of a Scream Queen, who has been incited to protest against the ‘Anima.’

Film makers know that a Bad-Boy male character, or that of some nightmarish phallic critter who personifies the ‘Animus,’ of women, rakes in their audience Shekels.

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But they have to be intuitively versed in Neuro-Marketing to do so, which doesn’t require a filmmaker being in league with some shadowy organisation, such as the mythic construct of the Illuminati, apart from his or her singular lens of an ‘eye’ being influenced by the three ILL-uminati cults of a deified ‘Animus‘ out of UR.

But the filmmaker will never knock the ILL-uminati trinity of UR, since he or she has to pander to the religious indoctrination of the mass populace, who have been trained to buy into a mythic product over the generations; wherefore inadvertently reinforcing their brainwash.

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Those filmmakers who attempt to do something different, invariably end up with an expensive flop. But then, they wouldn’t have got the finance to do so in the beginning; Holy-Wood’s media machine is a fixed game.

Anyway, Ridley Scott’s film, Alien, would have never been a success without H.R. Giger’s sorcerer conjurations, whose visionary genius of symbolic conjurations got people to see reality somewhat differently.

Although it’s a darn shame that Scott went all Biblical Nephilim with Prometheus, involving a reference to a Luciferian alien, from whose fallen Angel DNA, all life on Earth had stemmed.

The alien kin of the fallen Angel, who are called engineers, then set about planning to destroy his progeny. But as the old story goes, there was a rebellion in heaven; whereupon the spaceship, which was carrying the genetic bomb was put out of commission by the rebel Angels.

But what do you expect of rehashed story lines, most of the Holy-Wood movies reinforce the symbolic ‘Matrix’ of the ILL-umaniti cults out of UR.

You then find your mind incarcerated; your inner eye, blinded by blood, caught within a black prison, whose cell bars are invisible; for they are made up of symbols, which is NSA over-watched by the fixation upon an oily Middle Eastern ‘Animus’ God of the Petrodollar!

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DEVIL GIRL CONTRACT

Posted in Art, Chaos Magic, Demon, Demonology, Devil, Goetia Girls, Lucid Dreaming, Occultism, Poltergeist, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 2, 2015 by FAUSTUS CROW

A contract with the Devil is very much at the forefront of the Faustian folklore. But, if you reverse its symbolic focus upon an ‘Animus’ manifestation of a Devil, named Mephistopheles, to otherwise have an ‘Anima’ manifestation of a Devil Girl Succubus, to name, Mephistophina, then the relationship will generally be construed as being sexual. Hence a contract can be transformed into a ‘Coitus Pactum.’

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The reversal of the symbolism will then indicate that the original tale was not about a Sorcerer named Faust, but that of a Witch, called Faustina, who had entered into a Coitus Pactum with her horny ‘Animus,’ Mephistopheles.

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In fact, there is an ancient Roman plaque, which depicts the Empress Faustina being carried into heaven by the Goddess Diana-Lucifera; perhaps Faustina was a lesbian?

In pre-Christian Rome, being gay, or bisexual was not a crime, Rome didn’t even bat an eyelid.

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The popular Roman Goddess Diana-Lucifera was later transformed into a butch Lucifer by the homophobic Christian’s.

Basically, the perception of the masses can be easily influenced by the manipulation of sexually charged symbolism.

For example, the symbol of the Swastika, was once considered to be sacred by the pre-Christian European’s, who saw the Swastika as representing Thor’s hammer. Numerous other ancient peoples saw the Swastika as being holy, just as the Hindu’s and Buddhist’s still see the Swastika as being sacred to them.

This soon changed when the Nazi’s utilised the pagan symbol of the Swastika/Thor’s hammer to promote their right-wing Christian politics.

Another example is the ancient Egyptian Goddess Isis, whose promiscuous pagan cult was very popular in pre-Christian Rome. No doubt the early Christian’s considered Isis to be sexist.

Isis was later transformed into the politically correct Virgin Mary of an Animus fixated faith.

The name of Isis has since been used for manipulating the perception of the masses via the highly controlled mass media, which uses neuro-marketing, to zap your reptilian brain-stems with its political product.

This involves using certain symbolic stimuli, such as utilising an unemployed Caucasian female, of a one time Punk Rocker dressed up as a Nun of the Virgin Mary, whose Roman Catholic cult had appropriated the Animus fixated cult of the Hebrew’s, hook line and sinker. The Nun then runs off to Syria with an Islamic version of a Christian Grey, to become a fucking Isis Jihadist, which of an Arabic Wahabi cult has also appropriated Judaism hook line and sinker!

That aside of cultic insanity, if you stick to the original Faustian tale of a Christian viral-meme, then it will reveal why Marlowe’s version of Faust has a far more intimate relationship with his Mephistopheles of a hidden meaning; for Marlowe was homosexual of inclination. Marlowe used the Faustian tale to communicate his inner turmoil, and despair, of being castigated as one of the damned, by his society, which Goethe, had perhaps, misinterpreted, who did not fathom its underlying symbolic reasoning, or to have ignored.

During Marlowe’s and Goethe’s time, homosexuality was outlawed across Europe by the church of Rome’s own totalitarian/fascistic Sharia law, up until recent times.

So, may be Goethe had not missed the underlying relationship dynamic between Faust and Mephistopheles, which for Marlowe’s and Goethe’s Animus fixated audience, would make Faust even more heinous in their eyes, of an unsaid interaction.

There is historical evidence that many a theological scholar disdainfully considered Faust to have been homosexual due to his interaction with Mephistopheles, But they did not explore its symbolism too much, since they knew where it would lead them; for the Fallen Anima does haunt their Animus fixated theology.

Whereas now, of a so called enlightened and civilised perspective, most do not see the original symbolic meaning of the Contract.

If they do see it, many may just start to question their own Devil’s Contract with the ‘Animus’ fixation of the three monotheistic cults of an oily monotheistic ILL-uminati trinity, which seeks to propaganda convert the souls of the masses, to their Orwellian New World Order agenda.

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As for heterosexual Faustus Crow, he has entered into a lucid dream Coitus Pactum with his Succubus Art Muse of an ‘Anima’ manifestation to name as Mephistophina.

The Anima manifestation of Mephistophina represents a rebellion against the monotheistic commonality of a Playgirl ‘Animus’ fixation.

However, due to the politically-correct perspective of the present brainwashed society, Crow’s Coitus Pactum interaction with his Fallen ‘Anima’ is considered to be Entartete Kunst.

Crow has noticed that his conjurations of Mephistophina, along with her (Succubi) Succubae sisterhood, whom populate his Playboy Grimoire has caused an emotionally reactive stir, since it is considered as being merely pornographic by the politically-correct thought-police, whether they be of the Totalitarian left or of the Fascist right.

Faustus Crow doesn’t give a toss what the brainwashed herd mind of the zombies say, at all!

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STAR WARS: THE EMPIRE NEVER ENDED

Posted in Alien, Chaos Magic, Extraterrestrial, Film, Occultism, Science Fiction, Shamanism, Star Trek, Star Wars, Succubus, UFO, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 11, 2015 by FAUSTUS CROW

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In the mythology of the Star Wars universe, you have the all encompassing Empire. The word, Empire, originated from the Latin, Imperium, from which, Imperialism is derived. The term, imperialism is a type of an advocacy of Empire, meaning to rule over large territories.

Imperialism is a policy of extending a country’s power and influence through colonization, which is sustained through its technological superiority of a military industrial complex.

Other means are also used, such as by utilising economic warfare as well as propaganda, of a mind-control tool, which is smoothly accomplished of media social engineering via an established centralist religion.

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The Galactic Empire of Star Wars is also described as the New Order. The term New Order is derived from the term New World Order, abbreviated as NWO.

The term New World Order commonly refers to the emergence of a totalitarian one world government, which has centralised its fascist politics of a religious theocracy across the globe.

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In Star Wars, the New Order arose as a result of the fragmentation of the Galactic Republic, whose governing power was decentralized.

Whereas the New Order of the Empire championed centralism, which advocated an authoritarian and militaristic social and political culture spanning the galaxy.

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The Empire promised to trade frailty for strength, chaos for order, and uncertainty for decisiveness. Basically, the Empire promises to make the galaxy great again.

The Imperialist politics of New World Order centralism can also be found in the feudalist hierarchy of Angels, which holds that there are different levels or ranks of Heavenly Angels.

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Higher ranks may be asserted to have greater galactic power or authority over lower ranks, and with different ranks having differences in appearance, such as varying numbers of X wings or helmeted heads, of masked faces.

These Angels are arranged around a deified ‘Animus’ made as a God, who is essentially an Emperor ruling over an Empire. In other words, the Angelic hierarchy symbolises what is occurring in the terrestrial world; its belief system is being sustained by a self-perpetuated indoctrinated focus upon the religious politics of Imperialist centralism, which can be summed up as the New World Order.

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The New Order’s ideology in Star Wars is pervasively (Animus) male orientated, which is not only due to it being based upon the centralist politics of the New World Order, but also because of a (deified Animus) patriarchal religious influence.

This religious influence is symbolically encapsulated by the Angelic hierarchy of the patriarchal (Animus) grimoires, which is well established in the Hebrew Bible of the Talmud and Rabbinic literature, as well as traditional Jewish liturgy.

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The Angels are categorized into different Cabbalistic hierarchies as proposed by various theologians.

For example, Maimonides, in his Mishneh Torah or Yad ha-Chazakah: Yesodei ha-Torah, counts ten feudal ranks of male Angels emanating from the ten (Sephiroth) planetary spheres of the Cabbala.

The Hebrew Angelic hierarchy influenced the Angelic hierarchy of the Romano Christian’s who had appropriated the ancestral-self-identity of the Hebrew’s as their own, which was put forward by Pseudo-Dionysius the Areopagite, in the 4th or 5th century, as described in his book: De Coelesti Hierarchia (On the Celestial Hierarchy).

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During the Middle Ages, many Angelic hierarchies were proposed, some drawing on and expanding on Pseudo-Dionysius, others suggesting completely different feudal classifications. According to medieval Christian theologians, the Angels are organized into several feudal orders, or ‘Angelic Choirs,’ all of whom are armoured for celestial battle

Pseudo-Dionysius (On the Celestial Hierarchy) and Thomas Aquinas (Summa Theologica) drew on passages from the New Testament, specifically Ephesians 1:21 and Colossians 1:16, to develop a schema of three celestial Hierarchies, Spheres or Triads of Angels, with each hierarchy containing three Orders or Stormtrooper Choirs.

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As for the centralist religion of Islam, which also appropriated the ancestral-self-identity of the Hebrew’s, there is no standard hierarchical organization, of a parallel with the Christian division into different militarised ‘choirs’ or planetary sphere dominions; it is a topic, which is not directly addressed in the Quran.

However, it is clear that there is a set order or militaristic hierarchy existing between the Islamic Angels, as defined by the assigned jobs and various tasks to which the Angels of the Quran are commanded by their (Emperor/Animus) God, Allah.

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Some scholars suggest that Islamic Angels can be grouped into fourteen militaristic categories, with some of the higher orders being considered Archangels; one of whom no doubt looks like Darth Vader.

The centralist hierarchy of the Abrahamic (Animus) Angels, whether they be of the Judaic, Christian or Islamic of shared Imperialist religious politics are forever warring against the (Fallen Angels) Demons, who equate in the mythology of Star Wars with the Alliance, whom seek to restore the Old Order freedoms of the Republic. Basically, the Republic equates with the Roman Republic of pre-Christian Pagan (Animist) Rome, which is traditionally dated to have lasted from 509 BC, and ending in 27 BC, with the establishment of the Roman Empire.

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The Alliance is an interstellar faction, whose forces, rebel against the New Order of the Galactic Empire, throughout the Star Wars galaxy.

The Galactic Empire equates with the demise of the Roman Republic, during  27 BC, when Octavian was granted the use of the names, ‘Augustus’ and ‘Princeps,’ indicating his primary status above all other Romans, who revered the God, Mars.

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Octavian then adopted the title ‘Imperator Caesar,’ making him the first Roman Emperor. The Star Wars Alliance are commonly known as the Rebel Alliance, and, informally, as the Rebellion.

The Rebel Alliance was first featured in the 1977 film Star Wars, which featured Princess Leia who equates with the ancient pre-Christian Roman (Anima) Goddess Diana Lucifera.

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It was the ‘Anima’ archetype, Diana-Lucifera who led the Rebel Angels as the main Biblical antagonists.

But then the centralist politics of the ‘Animus’ fixated monotheists had demonised the elder Pagan faiths, and in turn demonising the ancestral-self-identity of the European’s.

Hence Diana-Lucifera was transformed into an ‘Animus’ fixation of a male, Lucifer by the patriarchal cultists. (Curiously, Diana Lucifera holds a torch, just as the Statue of Liberty does.)

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Leia (Diana Lucifera) was also in the Star Wars sequels: The Empire Strikes Back (1980) and Return of the Jedi (1983). The faction’s origins were alluded to in Star Wars Episode III: Revenge of the Sith (2005).

The early activities of the Rebel Alliance are featured in the Disney television series Star Wars Rebels, who as said earlier, can be symbolically equated with Demons (Fallen Angels) against whom, the Angelic Stormtroopers of the Orwellian New Order Empire of Heaven are at war.

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It turned out that the film director, J.J Abrams did not take Star Wars to a far deeper symbolic level than he ever did with Star Trek, which invariably led to the STD, Star Trek Discovery featuring two characters named after Archangels riding a fiery (Belial) chariot in the shape of he Hebrew letter ‘Shin.’

Abrams of an Abrahamic namesake was probably at ‘Animus’ Military Industrial Complex Empire odds with a ‘Rebellious’ perspective.

If, Abrams is a fan of the author Philip K. Dick, he might start to see the symbolism of the deified ‘Animus’ permeating all levels of society, as being a Black Prison, whose invisible mass-media Matrix incarcerates the indoctrinated-minds of the mass-populace, which presently classifies the influence of the ‘Anima’ as being sexist.

Philip became aware of the Back Prison when he had a rebellious revelation, which was initially triggered by a sexy dark haired girl, who he later symbolically equated with the Sophia.

The Sophia was a one time ancient Greek/Roman Goddess of Wisdom, who is essentially the Fallen ‘Anima.’

Her Muse influence revealed to Philip that THE EMPIRE NEVER ENDED.”

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SUCCUBUS LUCID DREAM SORCERY ART SURREAL

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 8, 2014 by FAUSTUS CROW

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Whenever you speak or to write, you are engaging in the sorcery of ritual magic; the words that you use instantaneously ‘conjures’ up associative symbols of an ‘evocation’ amidst your triangle of art imagination.

If this does not occur, it is because you do not yet understand the sound associations with the corresponding symbols. In other words, you do not yet understand the language being utilised.

You can investigate these instantaneous symbolic associations, which are taking place within your subconscious mind, for yourself, by remembering your dreams upon awakening, to thereby analyse what triggered off your dream in the first place, which is invariably that of a word leading to an emotively charged symbol or versa vice. Such associations can be subversively influenced by others, which of a science is termed as neuromarketing, although, its science is based upon the techniques utilised by religion.

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But you can take control over these outside influences, by personally observing the internal associative process when you attain lucidity within the dream, wherein you can utter a word of conjuration, such as a name (mantra) you have prior associated with a painting (mandala), photograph or sculpture etc, which has an archetypal quality.

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For example, you can utilise an image (mandala) you have associated with a Succubus, which has been prior meditated upon.

This will then generate instantaneous symbolic associations, whose correspondences formulate into the manifestation of a (mantra) named Succubus within the dream.

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Since you have attained lucidity within the symbolic arena of the dream, which to all intents and purposes feels very real of a fully immersive experience, the Succubus is now more than just a two-dimensional image of a symbol, she becomes as a three-dimensional interactive sensory reality.

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Another example: imagine an artist who at a conscious level is painting an image of a Succubus whose painting involves the usage of planetary metals suspended in coloured oils to paint. The painting of the Succubus has been named of a title, which of a name has been utilised as a mantra.

The artist repetitively intones the mantra of the named Succubus, while painting her image of a mandala, since its creation will automatically involve meditation, along with intermittent periods of active-imagination, involving visionary episodes concerning the Succubus being painted.

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The artist will also visualise an abstract symbol of a constructed sigil over his painting, which represents his symbolised desire of a seal. At a certain juncture of his intense focus, the artist experiences a short duration of hypnagogic trance, which can be extended with practice, where he will sense that another part of himself has taken over painting the image.

This other self has been prior associated with an alternate self-image of an Avatar to assume, like that of an actor playing a part of a character, whose female counterpart is the Succubus, via whom he introverts his erotic ‘focus of desire’. He doesn’t have to consciously think about the construction of the painting any longer, it has become subconscious of automatism. It is at this point that the employed symbolism has been implanted into the subconscious informational domain of the electron dream.

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When the symbolism of the painting has been successfully implanted into the subconscious mind of the artist, he will then experience ensuing dreams about the Succubus he has painted; much of which will be quite surreal of artistry.

The initial dreams will be that of trigger-dreams, which might lead to him becoming conscious within the microcosmic realms of the dream, when he recognises the trigger-symbols association with the Succubus he has painted. These trigger-symbols will also manifest as concordant macrocosmic (oracles, signs, portents and omens) synchronicities, which are indicative of the (water) dream merging with (land) waking reality; whereupon he becomes amphibious of awareness.

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The artist may also experience a visitation of the Succubus at the hypnagogic point of sleep; which, if he isn’t prepared for of an eventuality, it will initially manifest as the Old Hag Syndrome involving sleep paralysis, where he will endure being pounced upon by a shadowy entity. If the artist can overcome his fear, and thereby remember the name of the Succubus he has been focusing upon, when to either think or to call out the name, the shadowy entity will then assume the form of his conjured Succubus.

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The artist might have sussed out the riddle of the Sphinx, which of a symbolic formula is made up of four elemental creatures, being that of a Woman’s head and torso, a body of a Lioness, having Eagle’s wings along with a Snake headed tail. However you also have a tale about a prince called Oedipus. It is sad that he took on the challenge of answering the riddle of the Sphinx who was sizing up Oedipus to be her next victim.

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She asked; “what goes on four legs in the morning, two in the afternoon and three in the evening?” Oedipus thought for a moment. Then he replied “The answer is Man. He crawls on all fours as a baby, then walks on two feet as an adult, and then walks with a cane in old age.” What Oedipus was told of numbers, when added together adds up to the number nine, which is associated with the precession of the equinoxes.

Oedipus successfully answered the riddle of the Sphinx, which indicates she is associated with the process of time. More so that of a closed timelike curve, whose ring of time points at an Ouroboros of eternal recurrence, which of a tessearact experience is that of ‘Intrusive Nostalgia, Re-Remembering.’ But there be many another ring of time myriad, encircling parallel universes next door.

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The Snake headed tail of the Sphinx represents the emotive charge of the artist, which is cohered and directed by his eroticised conceptual focus upon the Woman, whom represents his mind-doll. If the artist internally generates a potent emotional charge, which reaches an ecstatic state, it will initiate the arousal of an electrical sensation, like that of a slithering serpent arising along the back of the neck towards the cerebellum, which leads to hypnagogic trance. The symbolism the artist has associated with the Woman is then implanted into his subconscious, which initiates a dream visitation of his mind-doll, who is associated with the predatory Lioness, where he might experience the aforesaid Old Hag Syndrome.

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Should his fear overwhelm him, he will sense that he is being strangled, which is indicative of the activation of the reptilian brainstem. Whatever his fear is, it will become his worst nightmare made manifest; the trick is to rein in and ride the Night-Mare, rather than the nightmare riding him. Should the artist have been successful in internalising his sexual impulse of an emotive charge in order to negate his fear, the mind-doll will assume the form of his erotic desire, when he calls out her name; wherefore binding her to his will.

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This will then lead to an ecstatic out of body experience, which is represented by the wings of the Eagle; whereupon he is then enabled to access the hall of records, which is that of his lucid dream, where he becomes aware of the Ouroboros.

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When the artist attains full lucidity within his electron dream hall of records, to browse, like that of the internet, of an informational web, he will observe that whatever associative symbolism he has associated with his Succubus of a world, it too will also manifest around her of an (informational associative fractal dream domain) alternate reality.

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Her universe is made up of corresponding memories; wherefore you have the term of ‘the hall of records’ as well as the Hebrew word of ‘Da’at,’ which means, belief. Basically, the beliefs of the artist will determine what he tunes into of a dream world.

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So, if an artist has painted a Succubus to look like a Steam-Punkette, he might find himself entering into an alternate Steampunk Wizard Of Oz Nikola Tesla world, of a fully immersive reality, or perhaps he has painted a Native American Succubus residing near unto Area 51 Dreamland to thence remote-view. The artist is only limited by the extent of his imagination going beyond the limits of indoctrinated beliefs.

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Should the artist engage in surrealistic dream sorcery concerning his painting of a Succubus, the painting becomes far more than just a two-dimensional image; it otherwise becomes that of a ‘doorway,’ into another world, and that of a spirit repository of a Succubus, he can thereby conjure into manifestation, within a three-dimensional fully immersive lucid dream, to thence illustrate two-dimensional of image, within a grimoire.

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